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Screenplay: The Foundations of Screenwriting

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Syd Field

Screenplay: The Foundations of Screenwriting Paperback – November 29, 2005

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  • Book Description
  • Editorial Reviews

Hollywood's script guru teaches you how to write a screenplay in "the 'bible' of screenwriting" ( The New York Times )—now celebrating forty years of screenwriting success! Syd Field's books on the essential structure of emotionally satisfying screenplays have ignited lucrative careers in film and television since 1979. In this revised edition of his premiere guide, the underpinnings of successful onscreen narratives are revealed in clear and encouraging language that will remain wise and practical as long as audiences watch stories unfold visually—from hand-held devices to IMAX to virtual reality . . . and whatever comes next. As the first person to articulate common structural elements unique to successful movies, celebrated producer, lecturer, teacher and bestselling author Syd Field has gifted us a classic text. From concept to character, from opening scene to finished script, here are fundamental guidelines to help all screenwriters—novices and Oscar-winners—hone their craft and sell their work. In Screenplay , Syd Field can help you discover:

  • Why the first ten pages of every script are crucial to keeping professional readers' interest
  • How to visually "grab" these influential readers from page one, word one
  • Why structure and character are the basic components of all narrative screenplays
  • How to adapt a novel, a play, or an article into a saleable script
  • Tips on protecting your work—three ways to establish legal ownership of screenplays
  • Vital insights on writing authentic dialogue, crafting memorable characters, building strong yet flexible storylines (form, not formula), overcoming writer's block, and much more

Syd Field is revered as the original master of screenplay story structure, and this guide continues to be the industry's gold standard for learning the foundations of screenwriting.

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From the back cover, about the author, excerpt. © reprinted by permission. all rights reserved..

  • Print length 320 pages
  • Language English
  • Publisher Delta
  • Publication date November 29, 2005
  • Dimensions 5.16 x 0.68 x 8.22 inches
  • ISBN-10 9780385339032
  • ISBN-13 978-0385339032
  • See all details

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  • ASIN ‏ : ‎ 0385339038
  • Publisher ‏ : ‎ Delta; Revised edition (November 29, 2005)
  • Language ‏ : ‎ English
  • Paperback ‏ : ‎ 320 pages
  • ISBN-10 ‏ : ‎ 9780385339032
  • ISBN-13 ‏ : ‎ 978-0385339032
  • Item Weight ‏ : ‎ 8.6 ounces
  • Dimensions ‏ : ‎ 5.16 x 0.68 x 8.22 inches
  • #10 in Screenwriting (Books)
  • #11 in Movie Direction & Production
  • #20 in Words, Language & Grammar Reference

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About the author

how to write screenplay book

Acclaimed as “the guru of all screenwriters” (CNN), Syd Field (1935-2013) is still regarded by many Hollywood professionals to be the leading authority in the art and craft of screenwriting.

The Hollywood Reporter called him “the most sought-after screenwriting teacher in the world.”

Field's internationally acclaimed best-selling books "Screenplay: The Foundations of Screenwriting," "The Screenwriter’s Workbook," and "The Screenwriter’s Problem Solver" have established themselves as the “bibles” of the film industry. "Screenplay" and "The Screenwriter’s Workbook" are in their fortieth printing and are used in colleges and universities across the country. They have been translated and published in more than 25 languages.

Field was also a special consultant to the Film Preservation Project for the famed Getty Center, was the first inductee into the prestigious Screenwriting Hall of Fame of the American Screenwriting Association and is a recipient of the distinguished Final Draft Hall of Fame Award.

Field chaired the Academic Liaison Committee at The Writer’s Guild of America, west; was on the faculty at the USC Master’s of Professional Writing Program; taught at Harvard, Stanford, UC Berkeley, UCLA, the AFI and many other noted institutions. He was a Special Script Consultant to 20th-Century Fox, the Disney Studios, Universal and Tristar Pictures.

He was a creative screenwriting consultant to the governments of Austria, Argentina, Brazil, Germany, Mexico, Norway, and collaborated with such noted filmmakers as Alfonso Cuaron (Gravity, Y Tu Mama Tambien), James L. Brooks (Broadcast News, As Good As It Gets), Luis Mandoki (When A Man Loves A Woman), Roland Joffe (The Killing Fields, The Mission), and Tony Kaye (American History X).

Field taught screenwriting workshops in Berlin, Bombay, Brussels, Buenos Aires, the Canadian Film Industry in Toronto, Montreal, Vancouver and Edmonton, in Frankfurt, Johannesburg, London, Madrid, Mexico City, Munich, Oslo, Paris, Rio de Janeiro, Rome, South Africa, Sydney, Warsaw, and by special invitation of the Ministries of Culture in Vienna and Zurich. He was the Keynote Speaker at the International Film Festivals in Berlin, Rio de Janeiro and Oslo, Norway, and the President of the International Film Jury at the Flanders International Film Festival, Ghent, Belgium.

Some of Field’s former students include Golden Globe-nominated writer/director Judd Apatow (The Zen Diaries of Garry Shandling, Bridesmaids, Girls), Oscar-winning filmmaker Alfonso Cuaron (Gravity, Y Tu Mama Tambien), Oscar-nominated writer/producer Frank Darabont (Shawshank Redemption, The Green Mile), Oscar-nominated writer Anna Hamilton Phelan (Mask, Gorillas in the Mist), Oscar-nominated writer/director John Singleton (Snowfall, Boyz N the Hood), Randi Mayem Singer (Mrs. Doubtfire), Laura Esquivel (Like Water For Chocolate), and Kevin Williamson (The Vampire Diaries, Scream 1 – 4).

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Industrial Scripts®

How to Write a Screenplay: Your 30-Step Guide

screenplay format

So – you want to learn how to write a screenplay.

You think about it constantly.

Whenever you watch a movie you annoy your friends, going on about how you could have written a better script.

You daydream about Jimmy Kimmel making fun of you as you sit in the front row at the BAFTAs or Oscars.

Perhaps you’ve even purchased Final Draft or another screenwriting software package and spent hours staring at your laptop screen, not sure where to start, so you decide to catch up on GAME OF THRONES  instead.

Don’t worry!

We’ve all been there, and Industrial Scripts is here to help.

Follow these steps in order to learn how to write a movie script. And discover that bragging about your finished screenplay is a much better way to annoy your friends.

Warning: Spoilers ahead.  

STAGE #1 – Planning How to Write A Screenplay

how to write a screenplay stages

The most important thing you can do for your screenplay is to plan it out ahead of time. Creating a blueprint of your script before you type that first scene heading will help you stay on track. It’ll help you create a story that works.

Step #1. Brainstorm Ideas :

how to write a screenplay brainstorming

  • If you don’t already have one, it’s good to keep a notebook with you so you can keep track.

Where would we be if Vince Gilligan had forgotten to scribble down “Chemistry teacher cooks meth to pay for cancer treatments” in his idea journal?

If you don’t have any ideas yet, you’re lying. There are ideas everywhere.

You probably already have a few in the back of your head. Sit down with your laptop, pen and paper, or vintage typewriter and start brainstorming ideas. Write whatever comes into your head.

Just get those ideas down on paper and explore them. Learn which ideas grab you, which ones you feel you could do justice, and which ones the world needs to see.

If you need inspiration, read newspaper articles and novels.

Use your own experiences to get you started. Remember that you are writing for a visual medium and let your imagination run wild!  

how to write screenplay book

Step #2. Pitch your ideas

Now that you’ve come up with a list of ideas, share them!

The end goal of learning how to write a screenplay is to have people see your film on the screen someday. So pitch your ideas to your family, your friends, strangers on the bus, anyone. Ask them which ones they would want to see. More importantly, pay attention to their body language.

Do certain ideas make their eyes glaze over, or make them crinkle their forehead in confusion? Are they really excited about an idea?

This will help you select an idea to devote your time and energy to.

Step #3. Research the genre

Whether you are writing a period drama, an animated children’s film, or a gory horror, you need to be an expert in that genre  because the audience will be.

Watch as many films of that type as you can. When people watch a film from a certain genre, they have certain expectations. Part of learning how to write a movie script is understanding these expectations.

Screenplay Research

This doesn’t mean that you can’t mess with the audience’s expectations or combine genres . You just have to be aware of what mindset your audience will have.

You also need to make sure that there is something different and special about your idea.

The Hollywood cliché goes “ the same but different ” and it’s up to you, the writer, to provide this.

Step #4. Get to know your characters

Your characters, especially your main character(s), will be your new best friends when writing a screenplay. You should get to know them better than you know yourself.

Know what makes them tick, what makes them excited. Know what their most embarrassing childhood memory is. How they feel about cats. These seemingly inconsequential answers will help you create a full, complex cast of characters.

There’s a useful exercise, frequently used by actors, for exploring your main character:

  • Write something like a diary entry from the point of view of your character.
  • Get a feel for how they talk and how they express themselves.  

Step #5. Freewrite your idea

Once you have a clear sense of the people who will inhabit your screenplay, you need to create their world. Write down your ideas for what will happen to your characters in this new world.

You will start to see a story forming from your ideas as you determine what the obstacles will be and how it will end.

how to write screenplay book

Step #6. Understand story structure

All these ideas you’ve come up with are a fantastic start, but now it’s time to see where they fall in the overall story arc.

One way to think about story structure is to divide your story into three acts.

  • Your first act will set up the world of your screenplay and introduce the main characters.
  • The second act is where most of the events of your story will occur; your protagonist faces obstacles, overcomes some and losing to others.
  • The third act includes the climax, or final showdown, of your story, followed by the resolution and tying together of loose ends.

Story structure is not a rigid framework, but it is an important aspect of telling effective stories. Even if you choose to play with structure, you should still understand it first.

Research story structure or check out a book on screenwriting to help you get a better feel for story structure (see the RECOMMENDED READING section at the end of the article).

We will also be discussing story structure further in the “writing your screenplay” section of How to Write a Screenplay.

Step #7. Write a logline and treatment

A logline is a one or two-line summary of your story. It needs to include your main character, their goal, the major conflict or antagonist , and possibly a twist.

An example: A struggling circus clown must find work at a funeral home .

  • The struggling circus clown is the protagonist, the conflict is unemployment.
  • The goal is to earn a living.
  • The twist is that the clown must get a job in a very different line of work.
  • Bonus points if you can get your logline to include a time limit to provide a sense of urgency. Maybe the clown has two weeks to raise enough money to make the payments on his clown car.

These are a challenge to write, but a fundamental step in learning how to write a screenplay. Loglines will help you understand  what the core or backbone of your story is.

Movie Pitch

Plus, it will be incredibly useful for pitching your screenplay to producers someday. A treatment is a one to three page summary of what will happen in your script. Write treatments in present-tense, third-person prose.  

Step #8. Get feedback

Once again, share your logline and treatment with others.

  • Feedback is an essential part of learning how to write a screenplay.
  • Feedback will help you spot any plot holes and provide ideas to improve your story.

Remember, just because one person says something, it doesn’t mean they’re right. But if more people say the same thing, it’s worth considering their point.

how to write screenplay book

Step #9. Create a step-outline

A step- outline is significantly more detailed than a treatment. In a step- outline , you create a list of the scenes in your screenplay and a brief summary of what will happen in each of them.

You do not need to include really short or transitional scenes (such as the protagonist driving to work) if they are not important to the plot of the story.

This step- outline will be your road map to your screenplay. It will keep you from getting lost when you write and further flesh out your story. Often step-outlines will include a full scene-heading for each scene.

Script Outline - Planning

Step #10. Index cards

Another way to help you plan out your story is to transfer your step- outline onto index cards.

  • On each index card, you should write a scene-heading and a summary of the scene.
  • Color-code these cards to indicate what act the scene is from, which character leads the scene, or anything else that might be helpful to you.
  • Once you’ve finished these, you can lay them out in the order you think scenes should occur.

From there, feel free to move the cards around. See if they really are in the right place in your story, or if there are any scenes that are unnecessary or missing.

Step #11. Create a writing schedule

Sometimes staying on track with writing your script can be a challenge, to say the least. It is easy to get distracted or busy and put off writing your screenplay. While this is understandable, it certainly won’t help you finish writing your story.

how to write screenplay book

Create a writing schedule for yourself, promising to write a certain number of pages a day/week. This will help motivate you to stay on task and feel productive. Alternatively, some writers allocate a specific time-period for their writing.

Hoss Amini , the screenwriter of critically acclaimed indie flick, DRIVE , writes for five hours every morning. Of course, you may not be able to follow his regime.

Part of learning how to write a screenplay is finding the best Instead try to find your own ‘writing time’ and stick to it.  

Step #12. Make sure you understand script format and software

Although it is possible to manually format a screenplay on a regular Word document, this can be challenging.

Save yourself the frustration and time by downloading screenplay software such as Final Draft or an alternative. They know how to format a screenplay so you can concentrate on how to write a screenplay in theoretical rather than practical terms.

Script format is something that can take up an undue amount of time if not using shortcuts. So gain all-important time by using screenwriting software. You want to make sure that script format is really the last thing on your mind when you’re getting into writing a screenplay.

screenwriting software final draft

You can also refer to our article on screenplay format to help you as you begin typing up your story.

STAGE #2: How to Write a Screenplay: The Writing

Now that you have your idea planned out, you’re probably itching to start setting your story down on paper. You will be happy to know that you have already completed one of the hardest parts of the process.

how to write a screenplay Structure

Now, all that remains in how to write a screenplay is the execution. In this section, we’ll guide you through the process of writing a screenplay using the three-act structure mentioned above.

Act I should roughly cover pages 1 to 23 for a 90-page screenplay or pages 1 to 30 for a 120-page screenplay.

Step #13. First image/scene

Give some thought to the image you want to start off your story. This will be the first look the audience gets at the world you have created. It will set the tone for the rest of your story.

  • In a horror film, this first scene is often a grisly murder.
  • But in a comedy, this could be a visual gag or a way to immediately start off the laughs.
  • And in a historical drama, the first scene will put you in the middle of that time period.

To help you work out what your story should open with, go and watch the openings of your favourite movies and think, “ what do they tell us? “

how to write screenplay book

A small spaceship fleeing a huge star destroyer – It’s going to be a sci-fi movie with lots of action!

Close-ups of Julia Roberts while a romantic song plays – a  romantic-comedy !

When you go to start writing a screenplay, think about what sort of film you want it to be, and whether the audience will be able to get that from the opening image.  

Step #14. Set up your world and main character

The beginning of your story should set up what type of world your protagonist lives in and provide the audience with some information on who inhabits this world.

According to Joseph Campbell’s The Hero’s Journey , this is called the “ordinary world.” This is the protagonist ‘s “norm,” their natural habitat before the events of the story change everything.

In THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING , the ‘ordinary world’ is the Shire. It is green, lush, and seems to be quite a quaint and comfortable life for the hobbits that live there.

Our hero, Frodo Baggins, is forced to leave when he receives the Ring and the Black Riders come looking for him. This is an event that in screenwriting lingo is called the….  

Step #15. Inciting Incident

The inciting incident in a movie script is an event that propels your protagonist into the events of the story and disrupts their ordinary world.

In HARRY POTTER AND THE PHILOSOPHER’S STONE , this is the moment when Harry receives his letter to Hogwarts.

hp how to write a screenplay

After this moment, Harry can no longer return to living at the Dursley house. He now knows he is special, thanks to the immortal words of Hagrid, ‘You’re a wizard, Harry’.  

Step #16. Resistance to calling

Often, the protagonist or hero will be unwilling to give up the comfort of their world for the unknown. They may turn away from their calling.

In a romantic comedy such as BRIDGET JONES’S DIARY , this could be the protagonist (Bridget Jones) and her future love interest (Mark Darcy) getting off to a bad start when they first meet each other.

how to write screenplay book

For another example, in THE HITCHHIKER’S GUIDE TO THE GALAXY , Arthur Dent, the protagonist , makes it very clear that he has no interest in going anywhere because he’s afraid that construction workers will demolish his house to build a bypass.

The irony being that a Vogon Constructor Fleet are about to destroy the Earth in order to build a Hyperspace Bypass.  

Step #17. No turning back

At the end of the first act, something occurs that prevents the protagonist from truly rejecting his or her calling.

No longer can they wait around and enjoy the comforts of their ordinary world. The hero must move forward and enter a ‘new world’ and face the challenges that will entail. This moment is also called the “lock in.”

In BACK TO THE FUTURE , this moment occurs when Doc is killed. In an attempt to flee the gunman, Marty McFly accelerates up to 88mph in the converted, time-travelling DeLorean and is sent back to 1955.

how to write screenplay book

When writing a screenplay, Act II is the longest act and should cover pages 23-66 for a 90-page screenplay and 30-90 for a 120-page screenplay.

Step #18. First half – Obstacles

In the first half of your second act, your protagonist will face many obstacles in achieving his or her goal.

  • Some of these obstacles will be overcome, and others will serve as setbacks.
  • The obstacles should increase in severity as the act progresses and tension builds.

A clear example of this is the 2010 cult comedy  SCOTT PILGRIM VS. THE WORLD . Scott’s obstacles are Ramona Flowers’ seven evil exes whom he must defeat but each battle becomes increasingly more difficult.

how to write screenplay book

Step #19. First half – Allies

To help the hero face these challenges, he or she will be given helpers or friends.

For Luke Skywalker of STAR WARS , these helpers include the robots C3P0 and R2D2, as well as smugglers Han Solo and Chewbacca, Princess Leia, and the mysterious Jedi-Knight, Obi-Wan Kenobi.

All will help him in one way or another so it is important that your protagonist ‘s allies all serve a purpose and aren’t merely hanging around for the sake of having extra characters.

Step #20. First half – Subplots

When writing a screenplay, any side plots are introduced at the beginning of Act II.

  • In WHEN HARRY MET SALLY , the subplot is the romance between Harry’s friend, Jess, and Sally’s friend, Marie.
  • In films that do not centre on romance, there is often a romantic subplot such as the romance between Fran and Scott in STRICTLY BALLROOM  or between Ben and Abigail in NATIONAL TREASURE .

how to write screenplay book

Step #21. Midpoint twist

Halfway through your second act (which is also halfway through your entire story) there is the midpoint twist, also known as the first culmination. It is often the case that at this point, the protagonist achieves the complete opposite of their goal.

In FINDING NEMO , the midpoint is when Marlin, in his search for Nemo, ignores advice from Dory, his new companion, and leads them through a group of jellyfish. This results in Dory getting badly stung which forces Marlin to realize that he needs to listen to her if he wants to be reunited with his son.

Marlin has already lost Nemo, who is really his only companion, and is desperate to find him. At this point in the film he nearly loses his new companion, Dory, thus achieving the opposite of his goal.  

Finding Nemo midpoint twist - how to write a screenplay

Step #22. Second half – Raising the stake s

In the second half of Act II, the stakes are raised. The protagonist needs to achieve his/her goal at all costs. In lots of movies this is literally a life-or-death situation but it doesn’t have to be. There’s no one size fits all for how to write a screenplay. It’s what works for the genre and stakes of the story so far.

In SILVER LININGS PLAYBOOK , Pat and Tiffany put all their energy into learning the dance routine because Pat needs Tiffany to give his ex-wife a letter and Tiffany needs to win the competition.

The stakes are raised even further when Pat’s father bets all of his money on the outcome of the dance competition.  

how to write screenplay book

Step #23. Second half – Lowest of the low

At the end of the second act, the audience feels that all is lost for the protagonist . This is called “the lowest of the low,” and is the embodiment of the cliché “it’s always darkest before the dawn.”

In THE FULL MONTY , this is when Gaz is arrested for stripping and loses the right to see his son. There is an exception to this “lowest of the low” rule if your story is a tragedy and will eventually end badly for your protagonist .

In this case, the end of the second act could be a high point before the fall of the hero in the third act.

As an example, take a look at SAVING PRIVATE RYAN . The second act ends with Captain Miller (Tom Hanks) finding Private Ryan (Matt Damon). They’ve succeeded in their mission, but the story does not finish there.

Saving Private Ryan - Finding Ryan

Act III should roughly cover pages 66-90 for a 90-page screenplay and pages 90 to 120 for a 120-page screenplay.

Step #24. Main Climax

The climax of the story occurs in the third act. This is the epic battle that the protagonist has been gearing up for.

This is quite often a literal battle, whether it be the last assault in EDGE OF TOMORROW , the title contest in WARRIOR or even the final rap-battle in 8 MILE .

The protagonist might lose everything, but he or she may just achieve their ultimate goal.

In CARRIE , for example, the main climax is when the powerful teenager faces off against her mother and ends up killing them both in the process.

Carrie conclusion - how to write a screenplay

Step #25. Final obstacles

Even after the climax, there are often still residual problems that the protagonist must solve.

  • In PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL , Captain Jack Sparrow is arrested and sentenced to death after he stops Barbossa.
  • The final obstacle that Will Turner and Elizabeth Swan must overcome is saving their captain’s life.

Of course it doesn’t have to be quite so dramatic. It may be something as simple as having left dinner in the oven and your characters have to race back to stop it from burning the house down!

However, this final obstacle is normally quite important for showing how your protagonist has changed from the beginning to the end.

Going back again to STAR WARS, the final obstacle Luke must face is the trench-run that is key to destroying the Death Star. Earlier in the film when he was trying to master the Force, Luke couldn’t let go of his own self-control.

Well, this time round Luke lets go and uses the Force to save the day. Remember, the final obstacle may be the last time that we see your characters in serious action, so make it count!  

how to write screenplay book

Step #26. Resolution

At the end of the third act (and the end of your story), loose ends are tied up and the protagonist deals with the outcome of the climax. In the hero’s journey, this is known as “the return”. The hero returns home with his goal completed.

In THE GODFATHER , the resolution is that Michael Corleone lies to his wife, proving that he has become the man he never wanted to be, the successor to his father.

Occasionally, like in THE SILENCE OF THE LAMBS , the filmmakers may deliberately leave a loose end untied.

Clarice Starling has caught Buffalo Bill but no mention has been made of Hannibal Lecter since his horrific escape.

Then in the closing scene he phones Clarice. The scene serves to remind you that Hannibal the Cannibal is now once again at large…  

Silence of the Lambs, ending - how to write a screenplay

STAGE #3: How to Write a Screenplay: Revising

Congratulations, now you have written a first draft, but that’s only part of how to write a script . Before you start cracking open a bottle of champagne and bragging to everyone at your high school reunion, be warned: you are far from finished.

You have completed an essential step, but this is just the beginning. Films aren’t made from first draft screenplays .

As Ernest Hemingway once said, “The only kind of writing is rewriting.”

It’s often necessary to revise and rewrite a screenplay multiple times, especially if you are a beginner screenwriter .

Page One Rewrite Limitless

Step #27. Take a break

While you don’t want to forget about your screenplay or lose momentum, it can be helpful to step back and take a break from your story after you’ve completed that first draft.

After being involved in your script for so long, it will be hard to see the faults in your work. It will be too easy to revel in your sense of pride and accomplishment and not see the big picture.

Now is the time to finally catch up on GAME OF THRONES and spend time with the family you have been ignoring for weeks. When you do come back to take a look at your screenplay and read it again, this distance will help you see it with new eyes.

how to write screenplay book

Step #28. Have others read your script

Just as it was during the planning stage, sharing your work and getting feedback is essential. Have your friends and family read it, or better yet get pro  script coverage for unbiased, educated feedback. They can help you figure out what works and what doesn’t, and suggest how to fix it.

Step #29. Rewrite

It seems daunting and exhausting, but you will probably have to rewrite large portions, if not all, of your screenplay. You won’t get it right the first time around.

Maybe you discover that your first act isn’t very strong and it’s affecting the rest of your script. Or maybe you decide to end your story differently. The rewriting process will take a while, but be patient and stay determined.

Becoming Jane First Draft Writing

The first draft is nearly always too dialogue-heavy but you’ll find that as you rewrite, you need less and less to effectively tell the story. Scenes full of clunky exposition – i.e. telling your story through speech rather than showing through action – fade away into tight, set-pieces that drive your character forwards to their goal.

Suddenly, you’ll find yourself really back in the flow of writing and will have finished that second draft.

It’ll probably be leaner, punchier and just generally better which takes you onto the next step…  

Step #30. Finalize

Continue this cycle of getting feedback and rewriting or revising. Don’t stop until you are truly satisfied that this is your best work.

But remember, writing the screenplay is one part. Filmmaking is an ongoing process that doesn’t end until it reaches the viewers.

If you sell your screenplay someday, it may be rewritten or tweaked. Directors, actors,  editors, etc. will continue adding their own touches to the story.

Your job is to create the foundation, and then prepare to let your story go.

how to write screenplay book

How to Write a Screenplay: Next Steps

To learn how to write a screenplay is a challenge, make no bones about that, but an incredibly rewarding one.

It’s never guaranteed that your screenplay will sell, but if you never write it you’ll never know.

Screenwriting is a hugely fulfilling (and lucrative!) career for those with the determination to succeed.

And don’t forget: writing is re-writing!

Want to learn more about the art and craft of screenwriting ? Looking to write while you learn? Want to dodge all the rookie mistakes and work within an established structure?

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In that case you need….

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You’ll work through 6 core modules and 25 detailed lessons . The course delivers huge value-for-money, taking 10 0+ hours to complete.

In addition, you’ll write a FULL FILM SCRIPT  while taking the course.

Course lessons include…

  • The Stages of Screenwriting
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  • Developing Theme
  • Character Development

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Online screenwriting courses don’t come much more detailed than ULTIMATE Screenwriting . It will systematically build your screenwriting knowledge and skill set, and delivers the ideal structure and framework within which to write a full film script.

Did you know? Industrial Scripts’ courses and services have been reviewed hundreds of times by satisfied writers. Learn more here .

The course delivers information and exercises to enrich your screenplays – whether you’re a complete beginner, or an intermediate film screenwriter looking to raise your projects up to a market-ready level. To learn more about ULTIMATE Screenwriting , and to sign up, click below —

  • What did you think of this article?  Share it ,  Like it , give it a rating, and let us know your thoughts in the comments box further down…
  • Struggling with a script or book? Story analysis is what we do, all day,  every  day…why not check out our script coverage services?

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9 thoughts on “How to Write a Screenplay: Your 30-Step Guide”

Thanks. It really was a very useful article. Not sure I have the patience for 100 hrs more but you do know your stuff! Is there a danger that the script could get too formulaic if we follow your advice? Film scripts nowadays seem to flit from present to past in quite a confusing way. Should one follow this and other modern trends? Is it compulsory to confuse as contemporary scriptwriters seem to deliberately make plots opaque/obtuse etc eg Man in the High Castle.

I am eighty-five years old. I have written six books and have number seven well under way. I have been approached about writing a screen play for one of my books. This is all new territory for me. I appreciate the guidance you will give me, as I plod through this next adventure in my life.

Most welcome Theda and it’s never too late!

Hi, I’m 16 and I’ve always loved writing. I Have looked constantly everywhere for this information and I finally found it! Thank you, My dream is to be just like my Idol, “Wes Craven”. I am going to keep this article and keep it with me at all times, so I will never forget how I learned to write a screenplay.

It’s an excellent article. It really teaches screenplay writing step by step like a mother teaches her child walking step by step. Thank you very much.

Thank you very much! This Article was awesomely helpful! I have been searching (shopping around for just the information I have found in your article! I have just – since reading only this – written my first draft! I am extremely excited to be able to finally do this screenwriting thing!

I do have a soap opera writer which is Zoe Ball and I do have a Director which is Taylor swift and all producers and directors and co directors and executive directors and executive producers and the script writer and editor and everything about my own soap opera of paradise of love.

Excellent tips for beginners. It covers all the basics and is well structured step by step. Thanks a lot. We are a group of creative writers from Pacific Media Solutions, Papua New Guinea. Will love to learn more from your platform. Sanjay Baalasubramani

You’re most welcome Sanjay, glad we could help!

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How to Write a Screenplay: A 10-Step Guide

how to write screenplay book

Without a doubt, the biggest question for those taking the first steps in becoming a professional screenwriter is how to write a screenplay.

Writing a script can be an arduous process for beginning screenwriters. However, when you learn the basic steps that need to be taken during the development, writing, and rewriting of a screenplay, things can get quite a bit easier for you.

While there is no single surefire way to go about writing a script, having a structured process to work from helps to simplify the undertaking, allowing you to focus on conjuring the best concepts, characters, and stories for your screenplays.

With that in mind, here we present a simple, straightforward, easy-to-follow yet detailed guide on how to write a screenplay in ten structured steps. Be sure to explore the accompanying links found within each step for more elaboration, information, tools, and professional knowledge that will help you get through this process.

Table of Contents

Screenwriting Terms You Need to Know

Before we dive into the first step, let's go over an important term you'll need to know: spec script.

What is a Spec Script?

A spec script is a screenplay written under spec ulation that it will be acquired by a studio, network, or production company for the purpose of production and distribution. In short, you haven't been paid to write it. You're writing the screenplay on your own accord with the hopes of selling it to the film and television industry for production.

What Are the Pros of Writing a Spec Script?

The benefits of writing on spec include the following:

  • No one looking over your shoulder.
  • You write what you want when you want.
  • You write the screenplay how you envision it, while hopefully following general industry guidelines and expectations to increase your chances of selling it.

As a beginning or unestablished screenwriter, writing on spec allows you to hone your skills and work on your craft through the development, writing, and rewriting process, unhindered by contracted deadlines and pressure from executives.

What Are the Cons of Writing a Spec Script?

But there's a catch to this freedom — you're not getting paid yet. You are working under the speculation that what you write will be received well enough for the powers that be to invest their valuable time and money in packaging, selling, producing, and distributing your cinematic story.

HOW TO WRITE A SCREENPLAY: A 10-STEP GUIDE

The Difference Between Writing on Spec and Writing On Assignment

Writing "on spec" and writing "on assignment" are different. Let's go over a few ways in which they differ.

Writing on Spec

Spec scripts are actually the least lucrative way to earn a living as a screenwriter. A majority of the screenwriting contracts in the film and television industry are paid writing assignments, where a screenwriter is hired to write from a pitched concept, a rewrite of a script they own, source material, or existing intellectual property owned by the hiring company.

When a screenwriter is being considered for a screenwriting assignment, their spec scripts are actually utilized as writing samples to help studios, production companies, and networks determine if the writer is a good fit for the assignment.

Writing on Assignment

When you write on assignment, the process is a little more structured by contract variants and mandates.

  • You likely need to write development materials like synopses, treatments, and outlines as part of the collaboration process with the powers that be.
  • You have development executives, producers, and directors reviewing your drafts and giving you notes that you will need to apply.
  • You have strict deadlines that need to be met.

But with writing assignments, you're getting paid to write — which should be  the goal for anyone wanting to become a professional screenwriter.

Spec scripts can be passion projects for screenwriters. Writing assignments pay the bills.

So while you're writing on spec, no, you're not bound by tight deadlines and time constraints. However, it will help you to train yourself to write like a professional under general industry deadlines and guidelines so you can be ready for success when it comes.

Read ScreenCraft's 5 Things to Expect During Paid Screenwriting Assignments !

This 10-step guide will help you build the structured process you need to get you ready for that success. As we mentioned before, there's no single way to write a screenplay. Every screenwriter will have their own wants, needs, strengths, weaknesses, and preferences when it comes to how and why they write their scripts. Use these proven steps as the foundation for your writing process, and we promise that you'll be a few steps closer to your goal of selling your screenplay — or being paid to write on assignment — and seeing your words come to life on the screen.

HOW TO WRITE A SCREENPLAY: A 10-STEP GUIDE

Step #1: Get Screenwriting Software

Screenwriting software is essential for screenwriters. The software is a necessary tool that aids the screenwriter in writing under inescapable format constraints and helps to later ease the collaboration process between screenwriters, directors, producers, development executives, actors, and film crews. Because of the importance of that collaboration — and the ease of which is offered to you — it is highly recommended that the first step of your writing process is acquiring and utilizing screenwriting software.

What Screenwriting Software is Best?

Many options are presented when it comes to which screenwriting software package you choose , each with different variances of cost, tools, and features.

There are free or lower-cost options that offer you the basic format tools, and there are more costly options that represent the industry standard and have more additional development and collaborative features.

  • Final Draft is the industry standard. It's much more costly than free options, but you can get it as low as $199 . It will be the best money spent for your screenwriting process.
  • Celtx is the most popular lower-cost option, but screenwriters should know that when you do get to the level where you're writing under paid assignment contracts, most studios, production companies, and networks prefer Final Draft files when it comes to reports, file types, and collaborative features that they request.

Read ScreenCraft's The Ultimate Guide to Screenwriting Software to learn more!

Do You Need Screenwriting Software?

Short answer, no. You can absolutely use any old word processor to write a script, but that means you'll be responsible for maintaining any and all formatting standards. Every margin, every indent, every italicized text — it's up to you to make sure it's all correct. And there are plenty of script formatting mistakes that new writers make consistently even  with  software!

This is primarily what makes screenwriting software so attractive and necessary for so many writers — it takes care of all the formatting so you can focus on the best part of the process — storytelling.

"Is the script format really that important?"

Yes. And there are specific reasons why.

Screenplay Format 101

Screenplays are not like short stories, novellas, or novels. They have a specific format that screenwriters need to adhere to because film and television are collaborative mediums.

Furthermore, scripts are both auditory and visual blueprints for eventual cinematic features and episodic television episodes, so the format exists to create an easy-to-visualize and easy-to-adapt cinematic story filled with locations, dialogue, and actions that directors, actors, and film crews can bring to life from script to screen.

Learn the History and Evolution of the Modern Screenplay Format !

Master Scene Format

The master scene format is  the essential script format that you should follow. It represents the best way to interpret visuals and dialogue from your creative mind to the page for others to decipher as easily as possible.

Screenplay Format Elements

The screenplay format elements of Scene Heading, Action, Character Name, Parenthetical (used few and far between), Dialogue, and Transition (used sparingly) are all that you need to tell a cinematic story meant for the big or small screen.

Here's a quick breakdown of each of these elements, as well as a visual guide on what they look like on the page:

  • Scene Heading: Also known as the "slug line," these headings communicate the setting of a scene, including whether it takes place inside or outside, the location, and the time of day.
  • Action:  This describes the action that can be seen or heard.
  • Character Name:  This indicates the character that is delivering the dialogue.
  • Parenthetical: This provides context or instruction for the dialogue delivery. (Use these sparingly and only when necessary.)
  • Dialogue:  This represents the words delivered by actors.
  • Transition:  This marks the change from one scene to another. (Use these sparingly and only when necessary.)

Screenplay Format

There are subtle variances in the format — musicals, for example, are formatted a little differently  — but the master scene elements are the most universal formatting guidelines to follow for all cinematic platforms.

Screenplay Margins

Each margin settings for these master scene elements include:

how to write screenplay book

If there are any format "rules" that cannot be bent, they are represented by these margin settings, which help formulate the basic and universal script page size and aesthetic.

When you purchase and utilize screenwriting software, you avoid having to worry about any margin settings. You can deliver what is needed in that format front by the push of a button or two as you write .

Because the screenplay format is much more technical compared to writing short stories, novellas, and novels, some beginning screenwriters look upon the format with anxiety. It doesn't have to be that way. If you follow the basic screenplay elements and utilize screenwriting software to ensure that you're adhering to the strict margin settings for each, you can focus more on telling great stories with strong and compelling characters.

For a more detailed breakdown of how to format a script, read ScreenCraft's How to Format a Script !

HOW TO WRITE A SCREENPLAY: A 10-STEP GUIDE

Step #2: Come Up With A Great Story Idea

Okay, you've got your screenwriting software and you're ready to start writing, only... you don't have a story idea.

Or maybe you  do but you're not sure if it's up to snuff. It's very easy to just roll with the first idea that comes to mind. But that's often the first mistake that most beginning and unestablished screenwriters make.

Either way, let's go over some concepts and tools that'll make it easier for you to come up with a great story idea.

Find a Great Concept

As the great Crusades Knight in Indiana Jones and the Last Crusade  once said:

"You must choose. But choose wisely."

The most common phrase that you'll hear in Hollywood development offices is concept is everything . Yes, everyone also wants great characters, compelling drama, high stakes, twists and turns, and engaging stories. But in the end, it's the concept that sells the project.

What is a Story Concept?

Concept  is  everything .

  • It's the logline (see below) that gets you in the door.
  • It's the central concept that sells the project to distributors.
  • It's the great idea that is sold to the audience.

It's the great story idea.

That great idea does need to be delivered in amazing fashion by a great script packed with engaging and empathetic characters. You need to deliver on the promise of your great story idea by writing an outstanding screenplay that explores the character and story dynamics of that concept. But, make no mistake, you need to choose the concepts of your script very wisely.

Do You Need to Have a Great Concept?

Screenwriters need to understand that, sure, there  is a market for smaller character pieces and quirky character-driven comedies and dramedies. However, those are more popular in the independent film market through auteur films and indie flicks that are discovered through the film festival circuit.

When you're writing on spec in hopes of selling your script to Hollywood, you need to do your best to find concepts that stand out from the rest. The spec market is highly competitive. Regular run-of-the-mill dramas and quirky character pieces don't represent lucrative investments for studios, production companies, and distributors. They need and want concepts that draw audiences to the theater — or get them to click while they're searching their streaming platforms for something to watch.

What are some ways to find those great ideas?

HOW TO WRITE A SCREENPLAY: A 10-STEP GUIDE

How to Come Up With a Great Concept

While there's no single secret to finding a great concept that will get studios and producers to bite, there are many creative ways you can explore potential ideas and see if they are compelling enough to encompass a whole screenplay.

Story Prompts

Sometimes reading and writing simple story prompts is the easiest way to get those creative juices flowing.

You can explore "What If..." scenarios , "This Meets That" story hybrids , or story prompts based on true stories that would make for compelling screenplays.

Read ScreenCraft's 101 Story Prompts Series  to get your creative juices flowing!

Watch Movies

And believe it or not, you can also turn to what may be your favorite pastime as a cinematic storyteller and movie lover — watching movies — to get your creative mind flowing. It's pretty common to be watching some of your favorite flicks — or new ones that engage you — and find your mind wandering to elements within those movies that weren't fully explored. Or maybe your imagination begins to wonder how a certain story or character could have been handled differently.

For example:

  • What if the story of THE SIXTH SENSE focused not on the people that could see ghosts, but rather on the ghosts themselves as they try to reach out to people to solve the mystery of their death?
  • What if GOOD WILL HUNTING was a thriller where the government forced a character like Will to use his talents to break secret codes?
  • What if the aliens in any alien abduction movie are actually humans from the future trying to find a cure for a pandemic that's killing off the human race?

Choose Your Genre Wisely

But sometimes it's not enough to just have a great idea. Writing that idea within a specific genre is also a big decision-maker for the impact your idea has on Hollywood when you start marketing your eventual script to studios, production companies, and distributors.

"Well, won't the movie concept dictate what the genre is?"

Not always.

Case Study: Armageddon vs. Deep Impact vs.  Don't Look Up

In ScreenCraft's How to Choose the Right Movie Genre for Your Concept , we put this notion to the test by offering a general concept.

An asteroid is going to impact the earth, and a team is being sent into space to stop it before kills humanity as we know it. 

That's a great idea for a movie. It's almost a great logline as well. But it doesn't necessarily dictate the genre and subgenre. In 1998, two movies debuted with that very same premise — Armageddon and Deep Impact . But both were very different films written under very different genres and subgenres.

  • Armageddon  was an action comedy mixed in with science fiction adventure.
  • Deep Impact was a drama mixed in with science fiction.

They handled the same premise in many different ways.

  • Armageddon focused on big laughs, sweeping romance, high-octane action, and special effects-driven space adventure. Yes, it certainly had dramatic moments, but the action, thrills, and special effects sequences overshadowed them.
  • Deep Impact focused on the drama of losing loved ones amidst the genuine and scary thought that our world could end due to circumstances out of our control. Yes, it had trailer moments of major tsunami floods killing millions, but the focus was on the drama.

A more contemporary take on the idea of people struggling to survive during an impending and eventual asteroid impact would be Best Picture nominee Don't Look Up , an apocalyptic political satire black comedy.

Play with Genre

Placing your great story idea into different genres — and the various story, character, and setting elements usually found in those different genres — is a masterful way to find something both familiar and unique, two elements that Hollywood insiders (and audiences) love when choosing which screenplays to move forward on.

What is the takeaway when it comes to finding great story ideas?

  • Choose wisely.
  • Be creative when you're exploring options.
  • Have fun with it.
  • Make lists of potential ideas to choose from.
  • And inject those ideas into different genre possibilities.

Read ScreenCraft's What Screenwriters Are Up Against in Every Genre !

3 Entry-Level Places to Get Your First Paid Feature Screenwriting Gig

Step #3: Write a Logline

If concept is everything in Hollywood, the logline is the thing that sells the concept in the shortest time possible. Think of them as the short and sweet literary forms of coming attractions. So, you could say that loglines are really, really, really important .

What is a Logline?

A logline is the simple 25-50 word (give or take) preview that captures the core dynamics of your concept. It's what sells your concept. It's an ultra-powerful sentence that can hook a reader and force them to read your script.

What Are the Elements of a Great Logline?

The purpose of a logline is to inform the studio, production company, and distributor:

  • The main character(s)
  • The world they live in
  • The inciting incident
  • The major conflict they must face
  • The stakes at hand

A great logline should include these elements.

How to Write a Great Logline

You're not telling a story in a logline. You're presenting the core concept of your script. You don't need to delve into twists, character arcs, and plot. You're simply conveying the core idea — the initial seed from that which the plot, characters, twists, turns, and ensuing conflict grows.

The basic formula that you can start with — once you've chosen the idea you want to develop — will help give you the foundation of what needs to be in a logline.

  • When [INCITING INCIDENT OCCURS]...
  • A [CHARACTER TYPE]...
  • Must [OBJECTIVE]...
  • Before [STAKES].
When a killer shark unleashes chaos on a beach community, a local sheriff, a marine biologist, and an old seafarer must hunt the beast down before it kills again.

Starting with this basic formula allows you to identify the inciting incident/major conflict, the protagonist(s), the goal they have within the story, and the main stakes. After that, you can tweak the verbiage and structure to find the best representation of your idea that leaves the reader engaged and compelled to learn more.

For a more detailed breakdown of how to write loglines, Read ScreenCraft's The Simple Guide to Writing a Logline !

Understanding the 3 Types of Character Arcs | Al Pacino in 'The Godfather'

'The Godfather'

Examples of Great Loglines

Still not sure what constitutes a great logline? Well, here are a few from some popular movies that'll give you an idea of what to shoot for:

The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son. (THE GODFATHER)

After a simple jewelry heist goes terribly wrong, the surviving criminals begin to suspect that one of them is a police informant. (RESERVOIR DOGS)

With the help of a German bounty hunter, a freed slave sets out to rescue his wife from a brutal Mississippi plantation owner. (DJANGO UNCHAINED)

A Las Vegas-set comedy centered around three groomsmen who lose their about-to-be-wed buddy during their drunken misadventures and then must retrace their steps in order to find him. (THE HANGOVER)

A young F.B.I. cadet must confide in an incarcerated and manipulative killer to receive his help on catching another serial killer who skins his victims. (SILENCE OF THE LAMBS)

A thief who steals corporate secrets through the use of dream-sharing technology is given the inverse task of planting an idea into the mind of a CEO. (INCEPTION)

A fast-track lawyer can’t lie for 24 hours due to his son’s birthday wish after the lawyer turns his son down for the last time. (LIAR LIAR)

Jaws

When a killer shark unleashes chaos on a beach community, it's up to a local sheriff, a marine biologist, and an old seafarer to hunt the beast down. (JAWS)

Seventy-eight-year-old Carl Fredricksen travels to Paradise Falls in his home equipped with balloons, inadvertently taking a young stowaway. (UP)

A cowboy doll is profoundly threatened and jealous when a new spaceman figure supplants him as top toy in a boy's room. (TOY STORY)

A young janitor at M.I.T. has a gift for mathematics but needs help from a psychologist to find direction in his life. (GOOD WILL HUNTING)

Two astronauts work together to survive after an accident leaves them stranded in space. (GRAVITY)

In a post-apocalyptic world, a family is forced to live in silence while hiding from monsters with ultra-sensitive hearing. (A QUIET PLACE)

A troubled child summons the courage to help a friendly alien escape Earth and return to his home world. (E.T.)

Read Screencraft's 101 Best Movie Loglines Screenwriters Can Learn From and 22 Loglines From This Year's Sundance Films (And Why They Got Festival Attention) !

When Should a Logline Be Written?

Some screenwriters make the mistake of waiting until after they've written their script to craft a compelling logline. While you can certainly rewrite the logline during the marketing phase of trying to sell your script, the logline is a great tool for the writing process as well. Most professional screenwriters are tasked with writing them before the scriptwriting process even begins.

When you write a great logline  before you start writing, you can use it as a compass to ensure that you're writing around what the logline provides — the central core concept of your story.

lego heads

Step #4: Develop Your Characters

You've got the great idea . You know what genre it falls under. You've articulated that great idea into a compelling and engaging logline that communicates that genre and encapsulates the core concept of the script. Now it's time to start delving into the characters that will populate the world you've been slowly creating through this development process.

5 Key Character Types

There are generally five types of characters in screenplays:

Protagonists

  • Antagonists

Supporting Characters

Stock characters.

Protagonists are the lead characters in your screenplays. Think Indiana Jones, Katniss Everdeen, Harry Potter, James Bond.

Some scripts will have a sole protagonist, while others will have multiple. These are the characters that have a central role in the progression of the story, and plot.

  • They are the ones reacting to the conflict presented by the concept.
  • They are the ones central to the story and plot.
  • They are the ones that have a full character arc as a result of their actions and reactions to the conflicts of the story.

Indiana Jones and the Raiders of the Lost Ark

'Indiana Jones and the Raiders of the Lost Ark'

Antagonists and Villains

Some believe that the terms antagonist and villain are interchangeable when they are actually quite different.

  • Villains are defined as “evil” characters intent on harming others.
  • Antagonists are defined as characters that work in opposition to the protagonist (the hero).

What's the Difference Between a Villain and an Antagonist?

Villains aren’t always the antagonists — often, but not always — and antagonists aren’t always the villains. Case in point, Sadness from Inside Out. While she is clearly the antagonist by definition — she is in opposition to Joy's goal of keeping Riley happy — she is not the villain because there are no evil intentions.

There is some gray area to be sure. Villains and Antagonists (and even Protagonists to a degree) do not live in a black-and-white world in the realm of cinematic and literary storytelling — a lesson that most writers can learn from. The best stories often blur the lines between antagonist, villain, and protagonist. That's where great character development comes into play.

In Ferris Bueller’s Day Off , Principal Rooney is clearly not evil. However, if you look at it from the context of the film — namely from the perspective of teenagers like Ferris, Sloane, and Cameron — Rooney is “evil” in terms of representing authority that opposes their will to have fun and enjoy life and school to their fullest.

In the case of Sadness in Inside Out, Joy eventually realizes that Sadness is not only an integral part of Riley's humanity but she's also a key element in ensuring that she's able to cope with loss in order to feel joy once again.

So the word “evil” must be looked upon in a particular context, namely through the eyes of the protagonist. In fact, one of the greatest villains in cinematic history is Man. Man is the personification of evil in Disney’s  Bambi . Now, we all know Man (in general, at least) isn’t evil. However, in the eyes of Bambi, Man killed the one Bambi loves for no good reason. So it’s all in the context.

Supporting (or secondary) characters may not always directly impact the central conflict, story, and plot, but they serve multiple purposes in screenplays.

  • Comic relief
  • Tying different main characters together
  • Connecting plot points
  • Supporting the main characters
  • Antagonizing the main characters
  • Informing the main characters
  • Testing the protagonists' values, ethics, and morals

It's good to be aware of who your supporting characters are and what purpose they serve within the context of the story. And the supporting characters you surround your protagonist with open up many more doors for additional character depth and arc.

Read ScreenCraft's Three Types of Supporting Characters Your Protagonist Needs !

Stock Characters are archetypal characters found throughout most cinematic stories. These are the recurring types of characters that audiences recognize from movies and episodic series.

  • Authority figures (teachers, principals, police officers, government agents, etc.)
  • Family Members

While stock characters can be building blocks used to create supporting characters, protagonists, antagonists, and villains, they are often used as plot tools for single scenes or smaller scope C stories within your scripts.

Read ScreenCraft's Archetypes and Stock Characters Screenwriters Can Mold ! 

Methods for Developing Your Characters

Character depth can come in many different forms.

character silhouette

  • You can develop backstories that explain those actions and reactions.
  • You can assign traits, quirks, and physical descriptions that define their characterizations.

There's no single rule, process, or guideline to follow. The best thing that you can do is find what works right for you and make sure that everything you assign to the character is present within the script and relates to the story and plot presented within the script.

Do You Need to Develop ALL Characters?

Remember that you don't need to do this for every single character within your script. There's not enough time in your movie to offer up much character development for stock characters. Supporting characters can be given a bit more depth, but even with them, anything too in-depth is too much and takes away from where character depth is really needed.

Protagonist character depth is where your focus should be because they need to have various internal and external arcs present throughout the story from beginning to end.

Read ScreenCraft's Acceptance, Revelation, and Contentment: Exploring Your Character's Inner ARC and Action, Reaction, Consequences: Exploring Your Hero's External ARC !

  • Find Creative Ways to Conjure Perfect Character Names!
  • Answer Character Questions and The Ultimate List of Story Development Questions to develop your characters further.

These simple steps can help you develop great characters to go along with your great movie idea.

Midway Break: Script Title, Research, and Story Visualization

Before we get into Step #5 and beyond, you need to take some time to do the front-end work that's necessary for all screenplays.

  • Find Your Script Title

Story Visualization

It's very tempting to jump into the screenwriting process after doing this initial concept and character development, but there's some critical work to be done before you deliver into steps 5-10.

Research is a critical factor in developing a compelling cinematic story, whether it's studying the world your fictional character will inhabit or learning everything you can about the real-life elements of your script.

Read ScreenCraft's 7 Things to Remember While Researching Your Screenplay !

And research goes beyond the story, world, and facts.

When you have a concept for a screenplay, one thing you should do is research that concept to make sure that there's nothing else out there like it.

person researching

We live in a collective world where we are all inspired, intrigued, and informed by the same things. There's bound to be a lot of cross-over. For screenwriters, there's nothing worse than getting through an entire script and discovering that Hollywood has already greenlit or produced one, if not multiple, films or TV series with the same concept you just finished spending months writing. It's heart-wrenching.

Once you have that idea in your head, jump on Google and start seeing if any other projects like it have been made or are in the works. And if something is similar, perhaps you can find a way to make yours different — if not better.

Script Title

Now it's time to give your project some identity. A new screenplay is like your baby. You need to nurture it, feed it, and let it grow. And that process starts by naming it.

Some will say that the screenplay title doesn't matter because it's likely going to be changed down the line anyway. There  is  some truth to that. If your script gets into industry hands, the title could (and probably will) go through any number of variations based on marketing and creative input from many individuals.

However, the title is a weapon in your literary and cinematic arsenal that you use to draw attention to your work. A great title can raise the eyebrow of that industry executive.

Above and beyond that, it's exciting to find that fantastic title.

  • It offers instant energy and excitement as you go into the writing process.
  • It gives instant identity to what you are trying to do with your cinematic story.
  • It fuels your investment in the project.

Take the time to find that perfect title for your script before you delve into the meat of the story and plot. You'll often find that a great title can lead you toward the story and plot decisions you make in steps 5-10.

For great tips on how to find the perfect title, Read ScreenCraft's How to Write Screenplay Titles That Don't Suck !

Visualization is a crucial part of the process. How can you possibly communicate and describe a visual through prose without first seeing it in your creative mind's eye first?

Writing isn't always typing. Visualization is just as much of your writing process as typing is — if not more.

screenplay outline

  • Visualize  the movie.
  • Watch movies and TV shows that are similar in tone, genre, and atmosphere.
  • Feed your brain.
  • Grow that seed of a concept.

You can visualize your movie as you stare out the window, feed the baby, prepare lunch for your middle schoolers, or wait for that work report to print.

That long work commute can be your magic time to dream up your story, characters, and narrative. When you work out, go for a walk or run, or go for a bike ride, you can be writing in your head, creating worlds and characters that inhabit those worlds.

  • Visualizing is writing.
  • Try to see upwards of 75% of your script in your head before you type anything.
  • At the very least, see the broad strokes of your movie in  movie trailer form .

You'll find that this front-end work will be invaluable when it comes to the necessary preparation for the screenwriting process of writing your script.

Step #5: Write a Treatment

Now that you've finished your logline, it's time to write a treatment.

What is a Treatment for a Screenplay?

A treatment for your script is a document that summarizes the big-picture elements of your story. The eventual screenplay will have the stylistic delivery of the story pitched within the treatment.

What's the Difference Between a Synopsis and a Treatment?

Where a synopsis would generally cover the broad strokes of the story within a few paragraphs, treatments cover the specifics of the story, utilizing prose in the form of descriptive paragraphs that tell the story from beginning to end with all of the character descriptions, plot points, twists, turns, and revelations.

How Long Should a Treatment Be?

The length of treatments varies, with most coming in at 7-10 pages. You generally want to keep the treatment as short as possible while still offering the necessary length to tell the whole story from beginning to end. In short, you're not writing a book — you're writing a summary.

Hollywood screenwriter Simon Kindberg shared the treatment for his eventual action hit  Mr. and Mrs. Smith  over at  Creative Screenwriting Magazine .

how to write screenplay book

His treatment clocks in at just four pages. It offers an overview, which touches on the genre, the characters, their relationship, and the story. Check out the full treatment for Mr. and Mrs. Smith !

Benefits of Writing a Treatment

While writing treatments isn't a necessary step for all screenwriters and screenplays, they can be an effective tool.

Treatments Help You Find Your Story Window

It offers you the chance to find your story window, which, in turn, helps to compact your story into a plot and structure that can fit the confines of a feature-length movie. It's also a document where you can work out your plot points and see how the story flows and progresses.

Treatments Help You Visualize Your Story

Once again, it's tempting to jump into the screenplay without doing the front-end work. While we mentioned researching your script, finding your script title, and visualizing your story as key front-end tasks, writing a treatment can be a very effective next step that takes that visualization and puts it into context with literary elaboration and necessary story and plot organization. This allows you to build the foundation of structure you'll need to tell the story.

Knowing How to Write Treatments Is Important for Going Pro

The ability to write treatments comes in handy when you start writing on assignment. Most professional screenwriters are required to write treatments during their development process, so it's a vital professional skill to learn — and one that can help you in your screenwriting development as you hone your craft.

Read ScreenCraft's 21 Movie Treatments and Outlines That Every Screenwriter Should Read !  

Step #6: Create an Outline

screenplay

Once again, it's very tempting to jump into the script without doing front-end work like this, but any professional will tell you about the value of outlines.

Read ScreenCraft's To Outline, Or Not to Outline, That Is the Screenwriting Question!

What Does a Screenplay Outline Contain?

An outline is basically a numerated or bullet point beat sheet that communicates what's being seen and said using anywhere from a couple of sentences to a short paragraph for each story beat .

Read More: What is a Story Beat?

  • Usually 7-8 pages long
  • Anywhere from 35-45 beats

You can take your treatment and organize all of those character, story, and plot elements into a beat sheet for the screenplay. The outline covers every single story and character beat. You may not have every single scene in the outline (leaving you room for story and character evolution and discovery), but it's the closest thing to a scene-to-scene breakdown.

What Are the Benefits of Creating an Outline for Your Screenplay?

Some screenwriters love them and others hate them. Regardless of where you stand, there are some very clear benefits to creating an outline for your screenplay.

You Can Make Big Choices Before Doing a Ton of Writing

You can use outlines to make creative and editorial choices before the time is taken to write those scenes and moments in their cinematic entirety via the screenplay format. That can save you a lot of time and effort when it comes time to rewrite.

Read ScreenCraft's Why Screenwriters Should Think Like Editors !

You Can Write a Stronger First Draft

Screenplays, once written, can be a house of cards where if you take one card out, all others will come crumbling down.

It's very difficult to change plot points and story structure within a completed screenplay. But when you organize these elements before that process in outlines, it's so much easier to move the pieces of your story and plot puzzle around, creating the necessary and desired structure to tell your cinematic story.

You Can Maintain Your Sanity

For some, trying to flesh out an entire story without an outline can be a confusing and frustrating endeavor. And screenwriting, for the most part, is supposed to be fun and fulfilling — it's hard to feel that way when you're constantly getting lost in your own storytelling.

script outline

Key Elements to Address in an Outline

Many assume that plot and story are interchangeable terms. They're not. And it's good to know the difference between plot and story as you begin to outline your screenplay.

The story covers the who, what, and where of your screenplay.

  • Who are the characters?
  • What conflicts are they facing?
  • Where is this all taking place?

The plot covers the how, when, and why of your story.

  • How are the who of your story affected?
  • When does the what of your story happen?
  • Why does it happen where your story takes place, and why does it affect the who of your story?

For an even more thorough breakdown, read ScreenCraft's What Is a Plot?

You utilize your treatments and outlines to fine-tune the plot points and find a cinematic presentational structure that works for your script.

Story Structure

Story structure encompasses the basic choices you can make to determine how you want to tell your cinematic story. The general structure of any story is embedded in our DNA:

You introduce your characters in their ordinary world (beginning), present a conflict that they are forced to deal with while showcasing their true and evolving character through their actions and reactions to it (middle), and then they either succumb to the conflicts thrust upon them or triumph over them.

That's story structure at its core. You won't find a story in any medium that doesn't follow the three-act structure of Beginning, Middle, and End.

You can also find different ways to tell your story through many different types of story structures that play with the chronological order presented in your outline.

Read ScreenCraft's 10 Screenplay Structures That Screenwriters Can Use !

There are a lot of options when it comes to how you structure your story . Whichever story structure you choose (the three-act structure is the most utilized story structure), you utilize the outline (and the treatment before it) to help shape the cinematic story you'll tell when you start writing the script.

Case Study: The Outline for  Big Fish

Here is an example that Hollywood screenwriter  John August shared on his podcast site . The script he was developing was Tim Burton's  Big Fish .

He likely used this for his collaboration with Burton and the producer. You could use this type of format — minus the page numbers — as an outline that offers slightly more detail if needed.

how to write screenplay book

As you can see, outlines are all about organizing the core of each and every scene and moment within a screenplay.

Step #7: Write the First Draft

Are you ready? Let's review:

  • You know what a spec script is.
  • You've got the screenwriting software.
  • You know the format.
  • You've come up with a great idea.
  • You've written a logline that acts as your story compass.
  • You've developed your characters.
  • You've got a working script title (you've named your baby).
  • You've done the necessary research.
  • You've taken the time to visualize your story.
  • You've possibly written a treatment.
  • You've hopefully at least written an outline to find the structure and organize the scenes you'll be writing.

Now it's time to sit down and get those fingers moving. It's time to make your story come to life on the page.

There are many ways to dive into the first draft. We've covered different approaches in past posts.

Read ScreenCraft's 5 Easy Ways to Conquer Your First Draft !

Here, we're going to keep it simple. And we're also going to provide an opportunity for you to learn how to write like a professional.

Have a Page Limit Goal

You may have read about the old adage that one page equals one minute of screen time. It's actually just a barometer — not an exact science — but one that can be very telling.

Screenplays are blueprints for movies. While there is certainly a literary dynamic to them, scripts are there to tell a visual story within the confines of 90-120 minutes of screen time . Thus, using the age-old barometer of one page equalling one minute of screen time dictates that the desired page amount for a spec script should be 90-120 pages. That's 90 at the very least, and 120 at the very, very most.

However, a more realistic page count is that sweet spot of 100-115 pages.

Having a page count goal going into the writing process is so invaluable to your writing process. You'll likely fall short or go over that goal by a few pages.

However, having a page count goal will force you to embrace the Less Is More mantra that all screenwriters need to master.

Read ScreenCraft's Why Every Screenwriter Should Embrace "Less Is More" !

screenplay

What's Making Your Script Too Long?

Experienced script readers (assistants, studio readers, story analysts, managers, agents, producers, development executives, studio executives, etc.) know when a script is too long. And it often has nothing to do with this one page equals one screen minute rule.

There's a reason why anything over 120 pages is often a sign that the script is too lengthy — because, in the context of the material coming from novice screenwriters, the script is usually that long due to the:

  • Overwritten scene description
  • Overwritten dialogue
  • Redundant scenes
  • Unnecessary scenes  

Why Longer Scripts Are Frowned Upon

There are also objective reasons longer screenplays are frowned upon.

90-minute movies (give or take) fit streaming modules or allow the distributors to get as many theater screenings in a single day as they can.

Also, longer scripts often mean higher budgets, longer shooting schedules, etc.

And there are structural reasons as well.

Since screenplays are blueprints for movies — and most movies are generally 90-120 minutes long (give or take) — there's a necessary page count structure that comes into play. And going significantly lower or above that 90-120 page range means that red flags are instantly tripped for industry insiders reading your script.

Read ScreenCraft's 5 Easy Hacks to Cut Your Script's Page Count !

30/30/30 Structure Breakdown

When you have a 90-page script, breaking down general structural dynamics regarding story flow is easy — a 30/30/30 barometer breakdown.

  • 30 pages for the first act.
  • 30 pages for the second act.
  • 30 pages for the third act.

That's an easy barometer screenwriters can work from when they first start.

Laptop and notepad

Fine-Tune Your Breakdown

Now, the first act isn't going to be a third of the script. You want to get those characters into the second act quickly, which has them dealing with the conflict at hand.

So you shift it.

  • 20 pages for the first act.
  • 40 pages for the second act.

And you can shift that page count for each act with more or fewer pages.

Focus on Writing Sessions, Not Hours

The notion of sitting down for eight hours a day and writing is a false one. Nobody is sitting there for eight hours straight, typing away non-stop. This is a claim that you'll often hear from pundits and successful authors telling tales in interviews and panels. And it creates negative residual expectations that newcomers put on themselves.

You don't need to write for multiple hours every single day. You don't even need to write every single day. And since you're not yet a professional screenwriter, we hope this is a very liberating realization for you!

With that in mind, we suggest that you focus on writing sessions over the number of hours you write. Doing so will help you to focus on writing throughout the week with the freedom of being able to take hours and days off to visualize, take care of your family needs, cover your work shifts, get your homework done, etc.  — all while staying focused by finding those open blocks of time when you  can  sit down and write.

  • Some writing sessions may be just for an hour.
  • Others may be for multiple hours when you have a day off.
  • You may have a day or two in between writing sessions.

3 Entry-Level Places to Get Your First Paid Feature Screenwriting Gig

Choose a Writing Process with a Focus on Achieving Goals

The key element for a writing process that utilizes writing sessions is the output. Each writing session — no matter how long or short it lasts as far as minutes or hours — must provide written pages.

In ScreenCraft's 10-Day Screenplay Solution: How to Write Lightning Fast , you're offered a proven professional process that helps you get that first draft done in just ten writing sessions.

Goals within that process include:

  • 10 pages per writing session, which averages out to a page count goal of 100 pages (allowing you to be over or under by a few).
  • A rewrite-as-you-go process that helps to lessen the work necessary for your eventual rewrites (see below).

Benefits of Being Goal-Oriented Rather Than Hustling Hours

Focusing less on the hours you put into your script, and more on the product of the writing sessions you can work into your schedule will help you be able to write more like a professional working under Hollywood contract deadlines.

  • You'll be able to conjure dialogue, scenes, and visuals faster.
  • You'll be able to work within your family and business schedule.
  • You'll take the weight off of your shoulders, as far as unrealistic writing time expectations.

4 Essentials You'll Want Your First Draft to Include

Some guidelines as you write the script include:

  • Get to the concept and story within the first few pages.
  • Let your characters' backstories and characterization appear through their actions and reactions to the conflict thrown at them in the second act.
  • Introduce evolved and new conflicts every few pages to keep readers and the audience invested in the story.
  • Build to both a physical (outer) and emotional (inner) climax.

laptop notes

How to Write the Beginning, Middle, and End of Your Script

The opening pages.

Most of the time, the first few pages are all you get to impress a reader or studio exec, so you better make them good. Luckily, we have some advice on how to hook anyone in your screenplay's opening pages , including building intrigue, setting up plot points, and holding off on introducing too many character details.

The Middle of Your Script

If you're struggling with the middle of your script, join the club. This is a notoriously treacherous part of any script, but we've laid out several ways to master the middle of your screenplay , like starting the second act early, raising the stakes, and writing twists, turns, and misdirects.

The All-Important Ending

And finally, if you want to end your script like a pro, we've got some tips. These tips are less practical than the previous ones we shared above, but they're still important and create a huge impact. A few things you'll need to do in order to master the ending of your script are know the ending before you start writing, connect the dots for your audience, and create internal barriers between your characters and the end.

The Rest is Up to You

When it comes to writing your first draft, the rest is up to you. The steps provided thus far — as well as the links to other helpful tutorials — are all that you need to make the writing of your first draft happen.

Still lost? That's okay! Read What Screenwriters Can do When Lost in the First Draft !

Before you begin, for a master list of what NOT to include in your script, Read ScreenCraft's 75 Things You Shouldn't Do When Writing a Script !

How Long Does It Usually Take to Write a First Draft of a Script?

Most beginning screenwriters take upwards of six months to multiple years to finish a single screenplay. When you become a professional, expectations change, and you're forced to adhere to first-draft deadlines that only give you anywhere from 4-12 weeks — sometimes less.

It's best to begin to learn how to write under contract deadlines because you're future-self will appreciate it. But we also know that everyone has their own tendencies. The idea is to take what we offer below, meld it with what you can and can't do at this time, and come up with the perfect hybrid process that best prepares you for what is to come when this screenwriting dream comes true.

take a break

Step #8: Take a Writing Break

Let's discuss a vital element within your writing process — the writing break .

A writing break is a pause in work. It may be for minutes, hours, days, weeks, or months (we'll cover everything below). Regardless, it's where you step away from the computer or laptop and disengage yourself from the task at hand.

Robert Pozen , senior lecturer at the MIT Sloan School of Management and author of  Extreme Productivity: Boost Your Results, Reduce Your Hours , told Fast Company :

“When people do a task and then [take a break], they help their brain consolidate information and retain it better. That’s what’s happening physiology during breaks.”

Most productivity researchers agree that breaks are vital to all working shifts. It allows you to refresh and re-engage in the task at hand.

Learning about breaks is applicable to the previous discussion about focusing on writing sessions over hours. But we'll also discuss the importance of taking a break after you finish your first draft.

Screenwriting Breaks By Minutes

Productivity researchers offer excellent breakdowns of an ideal number of minutes of productive work.

Pozen comments:

“Don’t think of breaks in terms of taking a set number a day, such as 12 or five. The real question is, what is the appropriate time period of concentrated work you can do before taking a break?"

There are a few different professional suggestions regarding the minutes of breaks when it comes to productivity.

75 to 90-Minute Writing Sessions

Pozen states that working for 75 to 90 minutes takes advantage of the brain's two modes:

  • Learning or Focusing
  • Consolidation

Kevin Kruse , author of  15 Secrets Successful People Know About Time Management , points to the work of Tony Schwartz, founder of the Energy Project . Schwartz coined the practice as a pulse and pause process, essentially expanding energy of productivity and then renewing it.

"His research shows that humans naturally move from full focus and energy to physiological fatigue every 90 minutes."

Yet how do most battle that fatigue? Kruse says:

"We override them with coffee, energy drinks, and sugar… or just by tapping our own reserves until they’re depleted."

Instead of burning yourself out by depleting your natural reserves or masking your fatigue with sugar and caffeine, you can simply, yes, take a break .

75 to 90 minutes can be a very productive writing session.

resting

52-Minute Writing Sprints

Most novice screenwriters usually write as their secondary (or third) focus during each day.

  • Most have day jobs.
  • Some have multiple jobs (including school).
  • And don't forget family duties as parents or siblings.

If you can't get a full hour and a half fit into your busy day, maybe a shorter writing session of 52 minutes is a good option. Finding under an hour of writing time before your day starts or before your day is about to end is a bit easier than finding a full 90 minutes.

The software startup, Draugiem Group , used a time-tracking app called DeskTime to track productivity. The study showed that working in 52-minute sprints (with a 17-minute break in between) increased productivity.

"The reason the 10% most productive employees are able to get the most done during the comparatively short periods of working time is that they’re treated as sprints for which they’re well rested. They make the most of the 52 working minutes. In other words, they work with purpose."

And that's a fantastic point, as far as looking at your writing sessions as sprints. When you have more time, that just means more time to procrastinate and let your mind wander. There's an urgency to the session when you have under an hour. You write with more purpose.

25-Minute Bursts

And then there is the Pomodoro Technique , developed by Francesco Cirillo, who named it after the tomato-shaped kitchen timer he used. His technique focuses on short bursts of work in 25-minute intervals with five minutes of break in between.

This technique is more well-suited for single tasks that require complete focus. For screenwriting, you can use this technique to focus on the following:

  • Conjuring a specific scene.
  • Rewriting a particular sequence you've been struggling with.
  • Polishing the dialogue of a critical scene.

These 25-minute bursts can be used a la carte throughout your whole day.

  • You can utilize short bursts during your work shifts during lunch breaks.
  • You can fit in a short burst of writing during breakfast before your day shift.
  • You can get another writing burst in before you head to bed.

The point is to find the best session, sprint, or burst time for you within your schedule and situation — while always making sure that you have an extended break in between.

If you're on a professional assignment with a tight deadline, your burst may actually have to be 75-90 minutes, with your sprint as a couple of hours and your writing session consisting of a few hours.

typewriter laptop

Screenwriting Breaks By Days, Weeks, and Months

Taking a break from your screenplay is vital to the creative process. As mentioned before, when you step away from your writing sessions, you're helping your brain consolidate and retain information better. As you go about different business and leisure during your breaks, your brain constantly tries to process the information and visuals you've had running through your head during your writing process.

  • It's putting pieces together.
  • It's making sense of the scenes, characters, actions, and location.
  • It's processing a consistent tone, atmosphere, narrative, and voice.

When you walk away from the screen, your mind is still writing. When you come back, it's refreshed and rejuvenated.

Another popular myth is that you need to be writing every single day. You don't. In fact, it's probably better that you work in full days off from writing, whether it's a couple of days during the week or taking the whole weekend off.

Remember, you can still be "writing" on these off days.

  • Visualize your next scenes during daydreaming, driving, walking, running, exercising, etc.
  • Figure out options for potential twists and turns (and their story ramifications).
  • Replay scenes you've written and see if they play out visually.

As we've discussed, writing isn't necessarily typing. Since screenwriting is for a visual medium, you should see these scenes and moments in your head before you type them onto the page.

Spreading your writing sessions out between day breaks can be highly effective for your visualization and story/character problem-solving.

Week Breaks

You don't want to take weeks in between writing sessions. It'll take multiple months to write a single script, and it's best to train yourself to write like a professional under contract deadlines (generally 4-12 weeks for the first draft).

Week breaks are more reserved for breaks in between drafts. When you finish a draft of your script, the worst thing you can do is go right into the reviewing/rewriting process. You've already spent one-to-three months writing your first draft. If you dive back into it, you're going to start suffering from paralysis of analysis.

Once a draft is complete, take some time away from it. How much time you take will depend on your situation.

  • If you're writing on spec (not under contract), take a couple of weeks away from your script.
  • If you're writing on assignment through a strict deadline, work in a week where you can step away from it.

What does this accomplish? You can revisit the script with fresh eyes by doing a full review through a cover-to-cover read. Experience the script not as the writer amidst deadlines but as a script reader  looking for a good read.

When you take these week(s) long breaks, you will see every glaring issue with your script that you couldn't see during the initial writing process.

  • Grammar and spelling errors
  • Dialogue issues
  • Exposition issues
  • Format issues

All of that and more.

Stepping away for a week or two between drafts will be a true difference-maker in your script and rewriting process.

Step #9: Rewrite

rewriting screenplay

Ernest Hemingway once wrote:

"The only kind of writing is rewriting."

Screenwriters traditionally hate the rewriting process. They are so close to their work that they often believe that their first drafts are perfect and ready to be shopped, packaged, and produced. We get it. There's excitement. You're thrilled to be done. You want to celebrate and then show your creation to the world.

Why Rewriting is So Important

This is a big reason why the previous step — the break — is vital to your process. When you come back after a couple of weeks or more away from your first draft and then sit down to read it cover-to-cover, you'll see those glaring issues we mentioned above.

The rewrite process is where you truly find your cinematic story. This is the time when you meld your storytelling skills and talent with a keen eye for editing.

  • You need to be objective.
  • You need to step outside of your own skin and be your worst (or best) critic.
  • You need to read a scene or line of dialogue and realize that it just doesn't belong.
  • You need to see each and every flaw of the script, big or small.

What Gets Cut During Rewriting?

Part of the rewriting process includes killing your darlings.

Those darlings may be:

  • Lines of dialogue
  • A fun, dramatic, or exciting scene
  • A supporting character
  • A visceral moment
  • An eye-catching visual

No matter how much you may love them for whatever reason — and no matter how much quality they represent as a singular element — make no mistake, you WILL need to kill many darlings for the better of the overall script.

You cut dialogue, scenes, sequences, and even characters out to:

  • Increase pacing
  • Improve scene flow and clarity
  • Center more focus on your protagonist
  • Remove clutter and unnecessary story, character, and dialogue elements

Different Rewrite Processes You Can Apply

There are many different approaches you can — and need — to take for an effective rewrite of your first draft.

One habit you can utilize during the writing of your first draft is the rewrite-as-you-go process we mentioned above.

Let's say you walk out of your first writing session with 10 pages. During the second writing session, you begin by reading those first 10 pages. As you do, you rewrite and tweak those 10 pages, going through mini-versions of the processes we feature below.

  • Fixing typos
  • Cutting down description and dialogue
  • Shortening scenes (if not deleting them)
  • Working on pacing

rewriting

Then during that second writing session, after doing the above, you write on.

After that second writing session, maybe you have written another 10 pages — which amounts to 20 total thus far.

During the third session, you again read what you've written — 20 pages beginning to end — and rewrite them as you go.

You repeat this pattern as you write that first draft.

The results? By the time you write FADE OUT at the end of the draft, you'll have a much more focused, tight, and flowing first draft of your script.

The Benefits of Rewriting as You Go

Added benefits include:

  • More consistent tone
  • Amazing pacing
  • Fewer plot holes

Because each time you sit down and write may find yourself in different moods, the rewriting-as-you-go process help to reign everything in each writing session. You're reading what you wrote before, which allows you to stay on that course of tone, atmosphere, pacing, and overall consistency as you continue on. It's like watching your movie in progress, and then continuing on with the new pages after you've watched it.

Revisit ScreenCraft's 10-Day Screenplay Solution: How to Write Lightning Fast for more on that!

Overwriting Check

Overwriting can come in the form of many different areas and elements of your first draft.

  • Lack of white space in your script.
  • Overly long scene headings.
  • Multiple camera directions.
  • Overly detailed scene description.
  • Overly detailed wardrobe description (not your job).
  • Too many adverbs and fancy vocabulary (keep it simple)
  • Overly specific action sequence description
  • Redundant or unnecessary scenes and dialogue

Read ScreenCraft's 7 Signs You're Overwriting Your Screenplay !

The Less Is More mantra we mentioned above needs to be solidified during the rewriting process. You want a final draft that offers visceral and cathartic scenes and moments, by way of simple and straightforward delivery.

Read ScreenCraft's 10 Amazing Screenwriting Examples of "Less is More" !

typewriter

Revising Check

Depending upon your own writing process, habits, and tendencies, revision is an organic undertaking that can be a day-to-day or a draft-to-draft task — preferably both.

It’s different from editing or proofreading (see below) because the choices that are being made — and the things that you are trying to figure out — affect the big picture of your feature film.

  • The structure
  • The characters.

During the revising of your script, you don’t want to be caught up in the details of editing and proofreading. You will lose your focus on what the revision is really about — the structure, story arcs, plot points, and character arcs. You can also include pacing, theme, tone, atmosphere, and catharsis to that as well.

Revise Using Your ARMS

To understand revising, you can use the ARMS  acronym to ensure that you are staying on that revision course throughout your writing process.

A dd — Adding sentences and words to your scene description and dialogue to tell your story better.

R emove — Removing sentences and words from your scene description and dialogue to better embrace the “less is more” mantra of screenwriting.

M ove — Moving sentences and words from your scene description and dialogue to create better pacing, structure, and flow.

S ubstitute — Substituting words and sentences for new ones to create better syntax, articulation, and style.

Editing/Proofreading Check

Once you’ve managed to revise your screenplay through writing sessions and multiple drafts, it’s time to polish that script by eliminating those inescapable and annoying spelling, grammar, and punctuation mistakes that still linger within your pages.

You accomplish this by proofreading your story with your eyes specifically scanning for those types of errors. During this process, you need to avoid having revision in mind because you will surely miss multiple technical mistakes if your mind keeps wandering to structure, story, and character revisions.

how to write screenplay book

Revise Using Your CUPS

To stay in the proper frame of mind, remember to use the  CUPS  acronym to keep you focused.

C apitalize —  Capitalizing names, places, titles, months, and other elements.  Example: If you’re writing a military script, lieutenant should be Lieutenant (titles) .

U sage —  Making sure that the usage of nouns and verbs is correct.  Example: “Have you packed your luggages?” is incorrect. The correct version would be “Have you packed your luggage?”   While this example may seem extreme and silly, you’d be surprised how many mistakes like this are found in submitted screenplays.

P unctuation — Making sure punctuation is correct by checking periods, quotes, commas, semicolons, apostrophes, etc.

S pelling —  Spellchecking all words and looking for homophone mistakes.  Homophone Examples: Your and You’re. New and Knew. To and Too. There,  Their , and They’re. Its and It’s. Then and Than. Effect and Affect. Cache and Cachet. Break and Brake. Principle and Principal. Breath and Breathe. Rain, reign, and rein. By, buy, and bye.

Locate Plot Holes

There are generally five types of plot holes found within screenplays. Let's keep it real and point out that no script is bulletproof when it comes to plot holes. But to get to the best final draft possible, you should do your best to find and fill the ones you do see.

1. MacGuffin Plot Holes

MacGuffin Plot Holes are those that relate directly to the MacGuffin, which are the goals, desired objects, or any other motivators that the protagonist (and often the antagonist as well) is either tasked with pursuing or drawn to pursuing, for whatever reasons. Not every cinematic story utilizes a MacGuffin. But if yours does, know that they are the motivating element that exists only to drive the plot and is usually the cause and effect of each character's conflict that they are dealing with throughout the story.

You, the screenwriter, don't need to explain every little aspect of MacGuffins if you're going to use them. However, you want to ensure that you keep a keen sense of logic when developing them. In the end, the sole purpose of the MacGuffin is to get the story moving forward for the characters . According to Alfred Hitchcock himself, the characters care about the MacGuffin — the audience generally doesn't.

2. Logic Plot Holes

Logic within a screenplay is what you, the screenwriter, decide. But know that the power of choosing what is logical and what is not within your script can and will dictate how invested audiences will be.

  • If you set your script within the real world, keep it real.
  • If your script is set within the real world with the caveat of consistent requests for suspension of disbelief in exchange for entertaining action and special effects (see most Hollywood blockbusters), have fun.

The key is to always be aware of whatever logic you are and are not willing to apply within your story — and keep it consistent.

3. Character Plot Holes

These types of plot holes also range from big to small, with varying degrees of repercussions.

Perhaps the most noticeable are those that deal with the choices that a character makes. These are often attributed to general logic, so they could fall under the Logic Plot Holes umbrella, but these are specifically attached to characters and the decisions they make. Make sure that your characters are consistent.

4. Narrative Plot Holes

Narrative Plot Holes occur when there's a gap or inconsistency in a storyline. It can directly affect the logic established within the plot, or it can be a glaring hole that halts the audience's engagement with the story as they question it.

5. Deus Ex Machina Plot Holes

The term refers to a plot device where a seemingly unsolvable problem or situation is suddenly and abruptly resolved by the intervention of some new event, character, ability, or object.

For more detailed breakdowns (and examples) of these types of plot holes, Read ScreenCraft's Do You Know the Different Types of Plot Holes?  

pencil on white paper

Pepper Your Script

The best part of the rewriting process is when you get to add all of the amazing extra details, plot points, clever foreshadowing, character ticks, plants and payoffs , etc.

Ask yourself, "How can I make this even better?" with each and every:

  • Line of Dialogue

Pepper and enhance every element of the script. Create those masterful plants and payoffs that the reader (and eventual audience) can experience and revisit to see that such moments were properly set up.

For example, read the screenwriting plants and payoffs breakdowns of movies like:

  • The Sixth Sense
  • A Quiet Place
  • Close Encounters of the Third Kind

Script Coverage

Sometimes it's helpful to get an outside perspective. That's where script coverage comes into play as an option.

Script Coverage is a professional analysis of a screenplay, consisting of various gradings of a screenplay’s many elements and accompanied by detailed analytical notes that touch on what works and what doesn’t work within the script.

Coverage formats and grading scales vary per company. And many different screenwriting contests, consulting companies, and consultants offer fee-based professional script coverage.

Read ScreenCraft's Top 5 Best Screenplay Coverage Services !

Script consultants grade everything from concept, story, characters, dialogue, pacing, and structure.

laptop notebook writing

Be keenly aware of what you should and shouldn't expect from professional screenplay coverage:

  • It's a tool, not a crutch — Despite its worth, script coverage should never be used as a crutch. Too many screenwriters spend too much money purchasing coverage package after coverage package for each draft of each script they write.
  • It's an opinion, not a definitive answer — Always remember that whether the coverage is favorable, unfavorable, or somewhere in between, it's just an opinion in the end. But that opinion may have some fantastic points that you should consider.
  • It's for pointers, not proofreading — Don't expect a word-by-word and line-by-line proofread with your script coverage. That's not what the reader is there for. They are not proofreaders looking to "mark your script" with every grammatical, spelling, and format error from cover to cover.
  • It's for Constructive Criticism, not glowing reviews — If your script is that good, they'll let you know. But don't have high expectations that the coverage will dazzle you with kudos. If you can't take the heat in the script coverage kitchen, don't pay to be in there in the first place. But understand that the ability to take notes and feedback is vital to your success as a professional screenwriter.
  • It's for inspiration, not answers — Readers are there to point out what works, what doesn't, and how the market may react based on current trends and expectations. And beyond that, they are there to ask questions and offer some minor options that writers could be inspired by to find the answers they seek.

You may not agree with everything they write. They may not understand everything you write. But they are there to help guide you on the many possible paths that your screenplay could take. And remember that there is a distinct difference between the feedback you get from fee-based script coverage (or mentor and peer feedback), and script notes given to you when you're a paid professional under contract.

For a more detailed breakdown of what to expect from script coverage, Read ScreenCraft's What You Should and Shouldn't Expect From Screenplay Coverage !

And check out ScreenCraft's Free Download: How to Master the Art of the Rewrite !

woman reading a script

Step #10: Complete Your Final Draft

Okay, you've done all of the rewrite work. Perhaps you've enlisted some professional script coverage to help you with an additional draft. Now one final question remains:

"When and how do I know if I'm done?"

When is Your Script  Done  Done?

The hard truth is that you haven't gotten to a final draft of your script — in the big scheme of things — until it's being produced via a director, cast, and crew.

Screenplays go through many drafts during the marketing, development, and production phase. When you get the script to managers, agents, and development executives, it's more than likely that you'll be asked to do more rewrites based on their needs, wants, and preferences.

But how do you know when your spec script is done during your initial writing process?

Once you've met your personal deadline, locked the script away for a couple of weeks or so before returning to rewrite it, read the script cover to cover after that rewrite process, and do a final polish draft, it's time to say to yourself, "It's done."

A Final Test of Doneness

The final test of knowing when your screenplay is done is to tell yourself just that.

  • You, the screenwriter, have to make that call.
  • You're failing yourself as a screenwriter if you leave it open-ended.
  • You're failing yourself as a screenwriter if you continue to do rewrite after rewrite after rewrite.

Too many screenwriters overly rely on endless feedback from family, friends, relatives, peers, and professional script coverage. The notion that a screenwriter must get feedback ends up being overblown and misconstrued. Yes, feedback can help. Yes, it's nice to get another set of eyes on the script.

The issue is that, in the end, each set of feedback you receive is just a subjective opinion. And if you continue to seek feedback from multiple people, there's no possible way to come to one true and final consensus in everyone's eyes.

  • This is what often leads to endless rewriting.
  • This is how writing groups can  hurt  a screenwriter.
  • This is where too many hands in the cookie jar can turn an otherwise great story into an utter mess.

Find one individual that you trust. Beyond that, get one film industry perspective if you can . The rest is up to you.

With that said, Read ScreenCraft's The Ultimate Final Draft Checklist for Screenwriters !

Best of luck to you!

screenplay

The Last and Most Important Question Once You Finish Your Script

And here's one last question that you should consider as you wrap up this script.

What are you going to write for your followup?

  • Never stop writing.
  • Don't spend months trying to market this script you've just written without moving on to the next as you do.
  • Go through this 10-step process again for each.
  • Get to the point where you have 3-5 excellent scripts to use as writing samples.
  • Market scripts as you write more and hone your skills.

Read ScreenCraft's 7 Marketing Strategy Hacks for Screenwriters !

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries  Blackout , starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller  Hunter's  Creed , and many Lifetime thrillers. Follow Ken on Twitter  @KenMovies

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How to Write a Screenplay [FREE 100-page eBook]

Today we're releasing our new step-by-step guide to help you write a screenplay... while you're stuck at home. did we mention it's 100 pages and it's absolutely free.

How to Write a Screenplay (During a Quarantine) Header fix

We're all stuck in the house with nowhere to go. We can't go into production on anything, thanks to coronavirus. But what we can do, is write. It's time to flesh out that story idea you've been thinking about!

What will this book do for you?

  • Immerse you in film scriptwriting theory and practices
  • Teach you to write visually
  • Help you analyze successful screenplays 
  • Guide you through writing loglines and treatments
  • Give you a schedule to write every week

The download is available as a high-resolution PDF, as well as an eBook format, for easier reading on mobile devices.

All you have to do is sign up via email and you'll be sent the download link immediately:

Yes! Sign me Up for the No Film School Newsletter and send me the FREE eBook How to Write a Screenplay (During Quarantine)

For signing up, you’ll get the 100-page eBook, plus the weekly No Film School newsletter, which contains:

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Don't worry, we won't spam you. And you can unsubscribe at any time. 

(If you're already subscribed to our newsletter, fill this form out to get the download. Don't worry—you won't get a duplicate newsletter)

Will this eBook really teach me How to Write a Screenplay?

We think so! Look, there is no one way to learn how to write a screenplay. And of course, rules are made to be broken.

But the truth is, no matter what, writing a screenplay is hard. Even when you aren’t saddled with an extra layer of anxiety about the state of the world and the health of your family.

We created this eBook to help you jump in and start writing. 

Written by screenwriter, teacher, and prolific No Film School contributor, Jason Hellerman , How to Write a Screenplay (During Quarantine)  combines many of the best practices, tricks, and resources found in dozens of screenwriting books out there on the market.

Our main goal with this eBook is to prompt you to put pen to paper—whether this is your first time writing a script or your hundredth.

If you find the guide as helpful as we hope you will, you can thank us by spreading the word about it. Facebook, Twitter, Reddit, or anywhere. 

As always with No Film School, we're offering one set of methods and solutions we think work, but if you have others share them so we can, as a community, grow together. 

Because we've all had story ideas kicking around in our heads. But in the words of famous screenwriter William Goldman, "The easiest thing to do on earth is  not  write."

It's hard to find the time. Life gets in the way.

Until now. Thanks to the coronavirus, we don't  have  a life...

So go ahead and fill out the form above to get reading/writing!

After you've read the eBook, let us know what you think in the comments. Are there methods you utilize that we didn't cover? Are there things we mention you disagree with? What would you like to see in a next version?

Happy writing!

  • Crafting This Is the Secret to the Rewriting Process ›

How Katie Burrell Subverts Ski Comedy With Her First Feature 'Weak Layers'

“don’t be afraid to admit that you have no idea what you’re doing, because people will rally around you and want to support that kind of attitude.”.

Weak Layers is Katie Burrell’s feature film, which she not only directed but co-wrote and acted in. The film invites us to truly understand ski culture, unlike many unrealistic ski movies of the past. With this film, Katie proves that a novice director can stay true to their vision while also leading with transparency, humility, and positivity along the way.

In today’s episode, No Film School’s GG Hawkins, speaks with Katie Burrell to discuss:

  • Feeling excited about theatrical releases in ski towns
  • Creating such a niche film
  • What Katie can’t stand about other ski movies
  • The unique, diverse cast and what they brought to the film
  • Directing in extreme climates
  • Being honest about her lack of experience
  • How she kept up morale on set
  • Why they didn’t do any playback
  • How they created an organic party vibe on set

Subscribe to the No Film School Podcast on:

  • Apple Podcasts

Listen to more episodes of the No Film School podcast right here:

This episode of The No Film School Podcast was produced by GG Hawkins .

OpenAI’s Insanely Powerful Text-to-Video Model ‘Sora’ is Here

Take a look at the first footage from the kodak super 8 camera, camera rumors: price and specs have been leaked for the upcoming fujifilm x100vi, adjust framing, speed, and perspective with the world’s first anamorphic zoom lenses, add new codecs and ai stabilization with davinci resolve update 18.6.5, spike lee and martin scorsese discuss the past and future of cinema, a deep examination of the final girl trope, why are short stories hot in hollywood right now, 10 directing lessons inspired by m. night shyamalan, what are the ramifications of the new 'sora' openai app on hollywood.

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How to Adapt a Novel Into a Screenplay in 10 Steps.

The ultimate guide to getting your novel up on the silver screen..

how to write screenplay book

How to adapt a novel into a screenplay in 10 steps.

If you’re wondering how to adapt a novel into a screenplay, you’re in good company. So were Suzanne Collins ( The Hunger Games ), Annie Proulx ( Brokeback Mountain ), Gillian Flynn ( Gone Girl ), and Dave Eggers ( Away We Go ) at one point.

If you’ve found some success as a novelist (or even if you haven’t yet) maybe you’ve considered adapting a novel into a screenplay, but are having trouble knowing where to begin?

If so, here are ten clear steps  you should follow while adapting a novel into a script for the silver screen.

How to adapt a novel into a screenplay step #1: d ecide if it would make a good movie.

While Hollywood absolutely loves making movies out of novels, not all novels should be made into movies. You need to take a good hard look at your story and be honest with yourself as to whether it would make a good film.

Is it visual enough?

Is there enough conflict? Is it commercial enough? Would people pay their hard-earned money to go see this in a movie theater? Are there a good number of scenes that you can easily imagine up on screen, thrilling audiences worldwide?

If the answer’s “yes” proceed to step #2.

If, on the other hand, your story is very small, deeply personal and mainly concerned with your characters’ inner thoughts, it’s probably not cinematic enough to consider adapting into a screenplay.

Step #2: l earn how to adapt a novel into a screenplay by r eading books.

As you probably know, writing a book and adapting a novel into a screenplay requires two completely different approaches and techniques. Therefore if you come from a novel writing background, it’s a good idea to first garner as much information as you can on how to write a screenplay .

One of the best ways to do this is to simply get started reading some screenwriting how-to books . Aim to read at least ten before embarking on your screenplay.

Here are just a few of our favorite screenwriting books. They’re not too heavy and also explain things in a clear, concise manner.

• Your Screenplay Sucks  by William M. Akers

• Inside Story  by Dara Marks • Save the Cat Stikes Back  by Blake Synder

For the full list, check out this page The 10 Best Screenwriting Books To Read In 2019.

Step #3: l earn how to adapt a novel into a screenplay by r eading pro scripts.

Not enough aspiring screenwriters do this regularly, but reading the scripts to your favorite movies is maybe the best way to learn how to write. And it’s also one the very best things you can do when it comes to adapting a novel into a screenplay.

There are a ton of sites where you can download professional screenplays for free but we have a put together a post 50 Of The Best Screenplays To Read And Download In Every Genre that’s a great place to start.

In short, reading a ton of professional screenplays should be an essential part of your weekly writing routine.

Step #4. learn how to adapt a novel into a screenplay by w riting outlines.

Writing a movie tends to be a much more structurally “formulaic” process than writing a novel. So here’s a great, hands-on technique you can use to familiarize yourself with how movies are constructed.

All you have to do is open your laptop and simply write down the key actions in every scene. Stick to the essentials of each scene—just what’s happened and how the plot’s moved forward—and keep it to two sentences max per scene.

Once this is done, study the outline, break it into its three acts and note why each scene is in the movie. Repeat this enough and before you know it, you’ll be an expert when it comes to how scripts are put together structurally and can begin adapting your novel into a screenplay.

Step #5: w rite out your novel as an outline. 

Having focused on steps #1 to #4 for a while, it’s time to write an outline of your book . Read it once more, picturing the events up on a movie screen and summarizing each scene in the same way as in step #4.

Only put down scenes that advance the story in some way—either by developing the plot or by revealing character.

A scene in which we see a character realizes he has one hour to stop a bomb going off is obviously moving the plot forward. A scene in which we see a character choose not to talk to anyone at a party and lock herself in the bathroom is revealing character.

Essentially you only want to include things we can see on screen . This means leaving out all interior monologues, descriptions of the rolling countryside, political theories, and so on.

script coverage

Step #6: z ero in on your movie’s main conflict. 

Much of this might be familiar to you, but it’s worth reassessing your novel from a basic screenwriting perspective when it comes to adapting a novel into a screenplay.

In contrast to penning a novel, writing a movie script is mainly about giving the protagonist a clear goal to achieve . This should have high stakes attached to it and be very hard to accomplish due to the opposition they face from a strong antagonist.

It can be very useful to try to condense your novel/screenplay’s core idea down into what’s known in screenwriting jargon as a “logline” —a short summation of the film’s core conflict into a couple of sentences. (We have a post here on How to Write a Logline .)

Go to IMDb.com and take a look at the plot summaries/loglines for some of your favorite movies. You should find that each logline neatly encapsulates just why you wanted to go see that movie in the first place.

Distilling your core idea down into a couple of short sentences is the ideal way to make sure it contains enough conflict and is exciting enough for people to want to see it up on screen.

Step # 7: turn your novel outline into a script outline.

Now it’s time to take the outline you wrote in step #5 and, having refined your movie’s core idea, turn it into an outline for the actual screenplay.  Editing, refining and polishing your outline is vital as it could potentially save you wasting many months of working on a story that’s not quite there yet.

Resist the temptation to jump right into writing the screenplay and spend some time beating out the story—working out what from the novel you should keep and what you should cut. As well as what new characters, scenes or plotlines you might need to write.

Novels usually run between 200 and 400 pages in length. As screenplays are considerably more concise, writing this outline may require quite a bit of editing: removing characters, subplots and anything not associated with the protagonist’s goal.

You want to make sure that you only include scenes in this outline that move the story forward—either by advancing the plot or by revealing character.

If you find yourself including scenes about the protagonist’s aunt who has no impact on the story at all, she should probably either be removed from the story or maybe melded together with another character.

Keep the narrative as clean and focused as possible.

Step #8: b uy some screenwriting software.

If you’ve made it this far it means you’re committed to writing this screenplay and so now might be a good time to purchase some screenwriting software. The last thing you want to do is start writing the screenplay on MS Word or some other regular writing program.

Screenwriting software will take all the formatting heavy lifting off your hands while adapting a novel into a screenplay, and here are the five best screenwriting software  options on the market.

While all of these screenwriting software programs will do much of the formatting work for you, it’s still worth getting to grips with the best practices concerning how to format a script .

Step #9: s tart writing your script. 

Having concentrated on writing novels up to now, you may be used to spending a great deal of time describing tiny details and giving characters long speeches and internal monologues. In a screenplay, though, everything needs to be as brief and concise as possible.

As they say in the screenwriting business, you want to leave lots of “white space” on the page. This generally means avoiding detailed descriptions, like of a stain on some drapes, or what the moon looks like in the sky.

The trick is to only include dialogue and describe action or scenery that’s important to the advancement of either plot or character.

Keep your scenes short and sweet . Remember the old screenwriting adage to “get in late and leave early” and that one page in a script roughly translates to one minute on screen. Generally, you don’t want your scenes to run over two pages.

Above all, remember that as opposed to writing a novel, writing a screenplay is all about revealing story through visuals . Rather than remaining in a character’s or narrator’s head, approach each scene from this angle: what do I want to show the audience with these characters’ words or actions?

Here’s a post on 35 Common Writing Style Mistakes In Spec Scripts that you should check out.

Step #10: learn how to adapt a novel into a screenplay by getting feedback.

Keep writing and learning the craft of screenwriting, but also don’t forget to get some script coverage on your work as you go along. Otherwise, you may end up writing away in a bubble, as some fundamental mistakes that could be easily rectified, go left unchecked.

Obviously, the best people to get advice from are professional writers, script readers , producers, managers, etc. If you know someone in the industry who can give you some free feedback, grab the opportunity with both hands.

We also recommend the online screenwriting forum, Stage32 , as a great place to get honest advice from fellow screenwriters. And it’s free.

Once you’ve taken someone else’s notes on board, it’s often a good idea to step away from the script for a couple of weeks or so to let them sink in. Make notes. Mull them over for a while and then return to the script with a clearer head to begin the rewrite process.

Getting to grips with screenplay writing may be hard at first, but stick at it and who knows? Maybe soon you’ll be following in the footsteps of Cormac McCarthy and Emma Donoghue.

If you’d like some honest, actionable advice on how to adapt a novel into a screenplay, please check out our script coverage services . We also provide a script doctor services in which we can adapt your novel into a movie script for you.

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Liked this post? Read more on how to write a screenplay…

How to Write a Screenplay: The Secret to Elevating It Above the Ordinary

16 Essential Screenwriting Tips to Make Your Script Stand Above the Rest

Script Dialogue: If Your Characters Are Just Talking You’re Doing It Wrong

[© Photo credits: Pexels ]

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43 comments.

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Thank you so much scriptreader pro! This is definitely going to be helpful. As always!

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You’re welcome, thanks for reading, Moyo!

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I don’t know who wrote the above advice on screenwriting but it’s the most useful entry I’ve yet seen online pertaining to this subject. Information is concise and persuasive. I will refer to this well-written article again for guidance. Two qualities comprise excellent writing: thorough knowledge of a particular subject and the skillful use of written language to convey it. The above article has both.

Thank you Michael.

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I wrote a science fiction novel “Outer Domain” and was offered a contract by a New York Literary Agency that converts novels to screenplays. My novel was just accepted at ” Books A Million” and I am looking for an agency that converts Novels to screenplays.

Congrats, Terence – have you seen our post on How to Get a Screenwriting Agent/Manager ?

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I’ve written two novels. The second is the sequel to the first. Is there a service that will take my two novels and make a screenplay manuscript from the books? In other words, do I need to submit a screenplay myself and have it edited or can I submit my novels and have a screenplay produced from the novel?

Hi Steven – you’d need to adapt the novel yourself into a screenplay if you wanted to then submit around town as a script. Or someone would have to approach you for the rights to the novel for them to adapt it into a screenplay.

I’ve written two novels. The second is the sequel to the first. Is there a service that will take my two novels and make a screenplay manuscript from the books? In other words, do I need to submit a screenplay myself and have it edited or can I submit my novels and have a screenplay produced from them?

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Excellent article, which motivated me even more. When I was writing my first novel, I would regularly visualise the events as I wrote it and reread it. I self-published my book in June 2019 but always had it in mind to turn it into a screenplay. After reading this 10-point guide, I’m amped up.

Great, thanks for the feedback, Patrick!

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I need your assistance

' src=

good-job, guys!!!

Thanks, Oscar!

My scriptwriting is – From Novel to Film, please can you assist me with above subject. thank you very

' src=

This really helps me. I am adapting my fantasy novel into a screenplay and will follow these 10 steps religiously. Thanks a million!

That’s great to hear, Felipe!

' src=

I have a novel written in Word that’s 39,000 words having a hard time know where to start to adapt it. Any advise would be most welcome.

If you follow the 10 steps you’ll be in a great position. 🙂

' src=

Great post, I’m thinking of adapting a novel I wrote 12 years ago into a screenplay.

Good luck, Ivan, we’re here to help if you need it!

' src=

Great post. Writing a script from scratch and selling it in today’s f-*^%ed up industry is HARD. Do yourself a favor and base it on existing novel with fan base. That’s what I’m doing, f*^% this spec script s7^t.

Good luck, Erroll!

' src=

I want to write and sell a script and now. your telling me to write a book first ? what?

It’s just another option – another string to your bow 🙂

' src=

I have learned so much on screenwriting just from being on this site a couple of weeks. Great resource for me, keep up the good work!

That’s great to hear, thanks, Marcel!

' src=

My family always says writing is a waist of time but I will not give up until I succeed!

Good luck, Amy!

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I need you to contact me ASAP! Great novel published last year and on Amazon, need help getting it up on the screen!!

' src=

I really love this.. I’m working on an adaptation of a YA novel and this is so helpful.

Good luck with it, thanks, Krystyna.

' src=

Huge thanks for your info! Found a novel that must be a film. I have no experience but googled screenwriting and read your post. It was intelligent, practical and inspiring!

Thanks a lot, Natasha!

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Does an individual need to get permission from the author or publisher to even move forward with starting an adaptation to screenplay. I have asked several resources but never received an answer yet.

Yes, if the work is not in the public domain then you need permission. Here’s a post on how to adapt a novel into a screenplay you may find helpful too.

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Does the permission for a screenplay based on a novel need to be received from the publishing company, the author, or both?

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Wow just what I needed to know about novel adaptation. Thank you!!!

Thanks, Terrance!

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My novel is coming out in the Spring in Barnes and Noble. Thank you for this post as I am considering adapting it into a screenplay one day.

Congrats, and best of luck with the novel! Drop us a line if you need help with the adaptation down the line.

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Please consider adding Highland 2 to the screenwriting software section. It’s currently available for free from the Mac App Store. It is Apple Mac only, and needs Sierra or better. On older Mac get Highland v1. It is developed by John August’s company Quote-Unquote Apps. He’s the scriptwriter of Go, Big Fish, Titan A.E., Charlie’s Angels (1&2), Charlie & the Chocolate Factory and the upcoming live-action Aladdin film. He also co-hosts the ScriptNotes podcast.

Highland 2 is pretty good, yes.

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How to Write a Screenplay Featured

  • Scriptwriting

How to Write a Movie Script: Screenplay Format and Examples

U nderstanding how to write a movie script, also known as a screenplay, can seem daunting at first, but once you understand script format and structure you can then focus on your creativity.

We’ll take you through the process of writing a screenplay so that you can begin building that great movie idea into a professional script. 

Watch: Anatomy of a Screenplay — Ultimate Guide

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What Is A Screenplay

What exactly defines a screenplay.

A movie script , also known as a screenplay is a document that ranges anywhere from 70-180 pages. Most movie scripts come in around 110 pages, but there are a number of factors that play into the length.

Before we go too deep into page count, let’s talk about the things you really need to know so that you can get started on your script ASAP.

How To Format a Screenplay

What is standard screenplay format.

Screenplay format is relatively simple, but it’s one of those things that can seem a bit daunting until you’ve actually learned how to do it.

The basics of script formatting are as follows:

  • 12-point Courier font size
  • 1.5 inch margin on the left of the page
  • 1 inch margin on the right of the page
  •  1 inch on the of the top and bottom of the page
  • Each page should have approximately 55 lines
  • The dialogue block starts 2.5 inches from the left side of the page
  • Character names must have uppercase letters and be positioned starting 3.7 inches from the left side of the page
  • Page numbers are positioned in the top right corner with a 0.5 inch margin from the top of the page. The first page shall not be numbered, and each number is followed by a period.

StudioBinder screenwriting software does all the required formating, so you can focus on the creative. Below is a formatted script example:

How to Format a Screenplay - StudioBinder Scriptwriting Software

Script formatting breakdown in StudioBinder

Many scripts begin with a transition , which may include FADE IN: or BLACK SCREEN . Some place this in the top left, others in the top right of the page where many transitions live. Other scripts will begin with scene headings, or even subheadings of imagery they want to front load.

SCENE HEADING

The scene heading is there to help break up physical spaces and give the reader and production team an idea of the story’s geography.

You will either choose INT. for interior spaces or EXT. for exterior spaces. Then a description of the setting , and then the time of day . 

Here’s a screenplay example:

how to write a movie script - afraid of the dark - studiobinder screenwriting feature - scene heading

Script format example in StudioBinder Screenplay Writing Software: Scene Heading

There are rare cases where the scene begins inside and goes outside, or vice versa, and in these situations you may write INT/EXT. or EXT/INT . 

Some scripts take place all around the world, so often screenwriters will use multiple hyphens to give the scene headings even more detail:

how to write a movie script - afraid of the dark - studiobinder screenwriting feature - character intro - double hyphen scene heading

Screenplay format example in StudioBinder Screenwriting App: Scene Heading Details

This helps the screenwriter avoid having to point out the geographical location in the action lines, saving space to write more about the actual story and keep readers engaged in the story… not the formatting.

how to write a movie script - afraid of the dark - studiobinder screenwriting feature - subheading

Script formatting example in StudioBinder Sciptwriting Software: Scene Subheading

It is assumed that readers will understand the change in space while retaining the idea that the time of day is the same - even continuous.

The reason many writers do this is to avoid the notion that we’ve entered an entirely new scene, though you could always include CONTINUOUS in place of DAY or NIGHT by creating an entirely new scene heading.

It’s a matter of personal style and rhythm vs. production considerations. 

TRANSITIONS

In the bottom right of the page you will place transitions, but in modern screenwriting these seem to be used less and less. The transitions that seems to have really stood the test of time are CUT TO: and FADE OUT.

how to write a movie script - afraid of the dark - studiobinder screenwriting feature - transition

Screenplay formatting example in StudioBinder Sciptwriting Software: Scene Transition

You may also include something like DISSOLVE TO: , but these are used less and less, probably for the same reason you avoid camera shots.

CHARACTER INTRODUCTIONS

When you introduce a character in a screenplay, you want to use all-capital letters for the name of the character, then a reference to their age, and finally some information about their traits and personality.

how to write a movie script - afraid of the dark - studiobinder screenwriting feature - character intro - double hyphen scene heading (1)

Script format example in StudioBinder Scriptwriting Software: Character Introduction

Again, screenwriters have found other ways to do this, but this is the most common and production friendly way to introduce a character. 

We have a post on how to introduce characters in a screenplay that goes into the creative considerations of introducing characters, so I highly recommend you check it out after this post to learn more.

Action lines are where you describe the visual and audible actions that take place on screen. You want to write in third person in present tense.

Here’s a script example:

how to write a movie script - afraid of the dark - studiobinder screenwriting feature - action

Script format example in StudioBinder Screenwriting Solution: Action Lines

Often, you can make your script a better read by eliminating redundant pronouns and conjunctions. Big sounds and important objects can be written out in ALL CAPS to emphasize their effect on the story. 

Your lines of dialogue will be set underneath the character to which they are assigned. Dialogue is pretty straightforward from a formatting standpoint, but it is the most difficult part of screenwriting.

how to write a movie script - afraid of the dark - studiobinder screenwriting feature - dialogue

Script format example in StudioBinder Free Screenwriting App: Dialogue Lines

If you want to learn more, check out our post on 22 Screenwriting Tips for Writing Better Dialogue where I go over a bunch of ways to audit your screenplay for good… and bad dialogue. 

These occur when a character says something off-screen (O.S.) , or if dialogue is voice-over (V.O.) . You will see extensions when a character ends a block of dialogue, performs an action, and speaks more.

how to write a movie script - afraid of the dark - studiobinder screenwriting feature - extension

Screenplay format example in StudioBinder Web-Based Scriptwriting Software: Extensions

This takes the form of continued (CONT’D). Professional script writing software will help you with this, but it will not be able to predict when you want something said off screen or in voice-over.

PARENTHETICAL

You can use a parenthetical inside your dialogue to show small actions, or even a change in mood without having to jump out to an action line.

how to write a movie script - afraid of the dark - studiobinder screenwriting feature - parenthetical (1)

Script format example in StudioBinder Free Script Writing Software: Parenthetical

Parentheticals are really good for directing actors, and adding sarcasm and nuance to performances on the page, but you may want to be cautious about adding them too much. Actors are professionals, and if Al Pacino finds parentheticals in a script, he may get his feelings hurt.

CAMERA SHOTS

The best professional screenwriters know how to suggest shots without actually writing in shots, but if you really insist on describing a particular shot in your screenplay you can format it like a subheading.

Here’s a script example

how to write a movie script - afraid of the dark - studiobinder screenwriting feature - camera shot

Script format example in StudioBinder Online Screenwriting Software: Camera Shot

This lets us know that the shot is supposed to be set so that we see things from Filbert’s perspective. Writing out shots is often frowned upon, but if you’re directing the film, maybe do it sparingly.

How To Write A Movie Script

Use proper script font & margins.

The screenplay font used to write movie scripts is Courier 12pt. 

Courier is used as the standard screenplay font because it creates a page to screen ratio of 1:1. Where one page of a script translates to one minute of screen time, so this is one area that really shouldn’t be modified.  

Page margins for a professional movie script are 1” for the top, bottom, and right side margins. The left margin is 1.5” for punch hole space.

StudioBinder provides a completely FREE and unlimited screenwriting software, so you don’t have to be worried about script fonts and margins.

StudioBinder's FREE Screenwriting Software

Because StudioBinder is cloud-based, you will be able to access your securely saved screenplay from any computer in the world. Our software helps you properly format, create versions, and automatically syncs to a number integrated production planning features.

Technology is there to make our lives easier, though I applaud you for having an interest in learning about professional screenplay font.

If there ever comes a time where screenwriting software is completely eliminated due to some sort of cataclysmic event, I think we’ll all have bigger concerns than understanding how to write a movie screenplay.

Now… let’s talk screenplay page count.

what is screenplay format

Consider your page count.

How long should your movie script be?

It’s a difficult question because comedy scripts generally come in somewhere around 90 pages (1 hour + 30 mins) while action and drama scripts come in around 110 (1 hour + 50 mins). 

It’s harmful to worry about this too much because what you really need is a script that is lean, mean, and compelling at every turn.

If you think your script is a bit thin, you may need to add a bit more, but every page you add means more money needed to produce the film.

If you write a great 80 page script, you may just have a screenplay that will both excite production teams, but also viewers with small bladders.

What Is A Script

Plan out script beats & story structure.

Story structure is a much more difficult topic to nail down when compared to formatting, so buckle up. Many screenwriter, directors, and viewers find that classic story structure leads to formulaic moviemaking.

It totally does… and that’s why many movies are xeroxes of xeroxes.

So why is this still the best way to have your screenplay produced as well as a really helpful tool for writing your screenplays?

Production companies, studios, producers, and executives have poured years, and maybe even decades into learning the business of feature films, and the vast majority have used classic story structure.

Do screenwriters and directors all follow it perfectly? — No.

Do screenwriters and directors all understand structure? — Yes.

You have the Save The Cat Beat Sheet , Three Act Structure , The Hero's Journey , The Story Circle — all of these are ways to make that great idea you have become a coherent story that emulates the human experience.

We all have highs, and we all have lows.

The true benefit of story structure is that it gives you a plan to build so that when you sit down to write you don’t just stare at the blank page.

It’s just a navigation map for your big roadtrip… one that producers and studios will want you to have so they can bank on your screenplay.

One of the non-negotiable support documents you want to create is a screenplay outline. This is where you can create your own roadmap, with all of the considerations you personally care about for your script.

Script outlines often present the scene page count, overall story beats, and the relationship each scene has with the other scenes in your script. If you’re trying to overcome writer’s block, a script outline will keep you focused and help you write your story.

How To Write A Screenplay

How long does it take to write a screenplay.

Many are curious how long it should take a screenwriter to write a movie script, and while it will always depend on a personal schedule you will be best served by setting up a rigid, professional writing schedule.

When professional screenwriters are given time to write a screenplay, they’re provided a time range between 1-3 months (30-90 days). 

In the past, I’ve set my personal writing pace at 6-7 pages in an 8 hour day of writing, which roughly translates to about 15 days of writing. 

If you’re truly focused on your script, planning out the structure, theme, characters, setting, and plot may take you a couple of weeks.

The short answer is that it should take around a month .

Some screenplays I wrote took 6 months… others took 2 weeks.

The time shrinks with each screenplay because you become more and more familiar with the overall process like any other craft or job.

Your inspiration and creative energy will only grow when you work on your projects and scripts, and it will only shrink when you don’t.

Movie Script Writing

Make a screenplay title page.

The next step is to create your title page for your screenplay. This is a somewhat interesting, albeit brief topic of discussion. Part of this comes from the fact that screenwriter used to add personal info on the page.

This is still totally fine, but there are much better ways to make sure potentially interested parties have a way to contact you about your story that doesn’t require you to include your home address.

You shouldn’t be scared to put yourself and your work out there, but you should use technology to give yourself a smoother process like adding an email address designated to your writing so that personal emails don’t get mixed up with important screenwriting emails.

Sample Script

Other important screenwriting notes.

There are some nuanced screenwriting practices that may seem correct, but can actually confuse or hinder the physical production.

One example is your time of day in your scene heading. 

Professional screenplay software will give you about a half dozen options including MORNING and SUNSET . This is an ironic moment where screenwriters actually hurt productions with proper formatting. 

These should generally be avoided unless the time of day is absolutely integral to the story because your script will import into production planning software and create stripboards that instruct the production to schedule the actual shoot times during a very small window of time.

Most morning and sunset scenes are filmed whenever and however a director and production team can figure out because planning your entire day of filming around 1-2 hours of available light is a great way to lose a lot of time, money, morale, and built up trust.

Even if you have a character who wakes up late for work, you really won’t need to use MORNING because that scene will most likely be filmed during the day, or may even be filmed on a soundstage with artificial lighting. What about the rules with action lines?

Screenwriters like Quentin Tarantino will sometimes include character motivations or aspects of the film that will not be shown on screen. Generally, this practice is frowned upon in screenwriting.

But he’s Tarantino… right?

The reason you don’t want to go too crazy with this is because it becomes a slippery slope where novice writers default to adding information the viewer can’t see or hear to the screenplay to give padding and context.

The truth is that writers should focus on building things we all get to see on screen, and not focus on motivation that isn’t apparent on screen. That’s also generally what character breakdowns are for, which you can include with your screenplay to producers, directors, and the actors.

Tell me if this sounds familiar...

You generally understand script formatting, but after reading a number of popular movie scripts you’ve actually become more confused.

When you read movie scripts and screenplays you quickly learn that many screenwriters play fast and loose even with script writing format, however, they all get pretty close and predominantly use their somewhat liberal interpretation of script writing format to help readers visualize the scenes in a way that keeps a good pace, flow, and rhythm. 

“Why am I trying to learn and follow rules that may hinder my ability to tell a compelling story through the written word when the most successful writers and directors don’t seem to give two hoots?”

Really, two hoots? What is this… the 1950’s?

Point is, you’re right. Often the professional scripts we get to read are either early drafts or straight up spec scripts, which means they’ve written the scripts without an attached plan for production.

Now, if you want to learn how to write a script that will be used for actual production, also known as a shooting script, you might as well write your screenplays in a way that is totally production friendly.

How to Become a Screenwriter

Now you understand how to write a movie script, make sure to take a look at How to Become a Paid Screenwriter . Our post is full of helpful lessons you can apply to your own professional screenwriting career.

Up Next: How to Become A Screenwriter →

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How to Adapt a Book Into a Screenplay: 11 Tips for Writers

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Every writer dreams of seeing their work adapted for the big screen. I’ve helped writers adapt books, short stories, and even a graphic novel into screenplays, and I’ve done the same with my own work.

How can I adapt a book into a screenplay for a movie?

  • Choose the Right Story: Ensure the story is visual, the characters are relatable, and the plot is clear.
  • Decide the Format: Determine if you’re adapting for a short film, feature film, or TV series.
  • Identify Theme & Tone: Understand the overall mood and message of the book.
  • Highlight Key Scenes: Focus on scenes that advance the plot and develop characters.
  • Develop Characters: Understand character motivations, challenges, and growth.
  • Outline Plot Points: Create a structured outline of the story’s progression.
  • Draft the Screenplay: Write the first draft, focusing on structure and dialogue.
  • Refine Dialogue: Make it sound natural and avoid excessive exposition.
  • Seek Feedback: Get opinions from peers, professionals, or screenwriting communities.
  • Write the Second Draft: Refine the story, characters, and dialogue based on feedback.
  • Polish & Revise: Continue refining until the screenplay is ready for submission.

In theory, it’s a simple process, but in reality it can be a tricky proposition. Condensing an entire novel with hundreds of pages into a lean, mean screenplay is no easy feat. Think about it – a typical novel read out loud as an audiobook can have a runtime of anywhere from 7 to 10+ hours, while a movie based on that same book will typically clock in at 2 hours max.

The big question becomes – how do you know what to cut out and what to leave? How do you go from page to screen?

In this article, we will discuss the process of adapting a book into a screenplay and provide tips for making the transition as seamless as possible.

Keep reading if you’re ready to bring your novel to life on the silver screen!

How to Adapt a Book Into a Screenplay

book being turned into a screenplay for a movie

One of the most exciting things about seeing a movie based on a book is watching how the story unfolds on the big screen. But have you ever wondered how your favorite novel makes its way from the bookshelf to the theater? The process of turning an original story into a screenplay adaptation is both an art and a science.

The first step in adapting a book into a movie script is to choose the right story. Not every book is suited for the big screen, and it’s essential to identify the key elements that make for a compelling film .

Spend some time watching movies that have been adapted from novels or short stories , and read both the source work and the screenplay if you can. If you’re wondering which movies to watch, you can check out my list of the top 30 adapted screenplays of all time !

Once the story has been selected, the next step is to condense the narrative into a screenplay format. This can be challenging, as screenplays are typically much shorter than books. As a result, many important details may need to be cut out to fit the story into the required format.

The next step is to flesh out the characters and settings and to develop the plot. This step is where much of the creative work takes place, as the screenwriter must find ways to bring the story to life on the silver screen.

Once the screenplay is complete, it will undergo several rounds of revisions before being sent to a film festival , online marketplace, or producer. If all goes well, your favorite book will soon come to a theater near you!

1. Find the book you want to turn into a screenplay.

How to Adapt a Book into a Screenplay Steps

If you’re a fan of books and movies, you’ve probably thought about how cool it would be to see your favorite book adapted into a film. But how exactly do you turn an original story into a screenplay ?

The first step is to find the book or short story you want to turn into a screenplay. While it may seem like any book could make a good movie, a few key elements make for a good adaptation.

  • The story should be visual . Many action and descriptive scenes are essential to give the audience a sense of the world you’re creating on screen.
  • The characters should be relatable . We should care about what happens to them and feel invested in their journey.
  • The story should have a clear beginning, middle, and end . A meandering plotline is often challenging to condense into a two-hour movie format.
  • Find a book you love ! The adaptation process will be more straightforward if you find a book you are passionate about. Your motivation to work on the screenplay will be much higher if you love the book’s story, theme , or message!

There are three types of books that screenwriters often adapt:

  • Your own novel or book.
  • A book that you have the right to use.
  • A book in the public domain.

Make sure that you do not waste your time adapting a popular book into a movie script only to find out after the fact that you do not have the rights to that book or storyline and that all your hard work has been wasted! Do your research ahead of time.

If you can find a book that meets these criteria, you’re well on your way to writing a great screenplay that will be amazing in a movie theater!

2. Decide if you want to write a short film, a feature film, or a TV series.

How to Adapt a Book into a Screenplay Step 2

Once you’ve decided to adapt your book into a screenplay, you need to decide what format you want to write for. Are you interested in writing a short film , a feature film, or a TV series? Each option has its unique challenges and benefits.

  • A short film is a great way to get your feet wet in the world of screenwriting, and it can be a fun experiment to see how your story translates to the big screen. This works best when you are adapting a short story into a short film or a single chapter from a novel.
  • A feature film has the potential to reach a wider audience , but it also allows you to dive deeper into the complexities of the plot and develop the characters in greater depth. However, writing a feature screenplay also requires much more work and time!
  • If you’re interested in writing for television, you’ll need to create an episodic outline for your series based on the novel and develop characters and plotlines that will grow and change over time.

3. Identify the overall theme and tone used in the book.

decide on your theme

Once you’ve chosen the book you want to adapt for the big screen, the next step is to identify the overall theme and tone used in the story. This will help you to decide how best to translate the story into a screenplay format.

For example, if the book is a light-hearted romance, you’ll want to keep the script cheerful and upbeat. But if the book is a dark thriller, you’ll need to make sure that your screenplay conveys the same sense of suspense and menace.

Similarly, if the book has themes of both love and revenge in it, you’ll want to ensure that these themes are reflected in your film adaptation.

Once you’ve got a good feeling for the story’s overall tone, you can start thinking about how best to adapt it for the silver screen.

4. Identify the key scenes to include.

identify key movie scenes

One of the most critical steps in adapting a book into a screenplay is to identify which key scenes from the book need to be included.

This can be a difficult task, as it is often tempting to try and include everything from the book!

However, it is essential to remember that a screenplay is a different medium than a book, and not every scene will work well on screen. Remember, a script is much leaner than a novel, typically with a quicker pace and shorter page count.

Instead, focus on choosing the key scenes that will help to advance the plot and develop the characters. Also, focus on the visual elements of those scenes. If a chapter is told purely from an internal thought process, it can be difficult to translate to screen. These are the types of scenes that will best capture the essence of the book and help to make it a successful film.

book to screenplay

Once you have identified these key scenes, look closely at each one and consider how to make it work for the screen. This might involve expanding on specific details or cutting others out altogether.

You might want to consider using a beat sheet (like Blake Snyder’s Save The Cat beat sheet from his book “Save The Cat”) to help you map out each story beat.

5. Develop the main characters and their character arcs.

develop your movie characters

After you clearly understand the world and the story you want to tell, it’s time to start thinking about the people that will inhabit it. As you think about a character arc, consider the following:

  • What makes the character tick?
  • What motivates them?
  • What obstacles do they face, and how do they overcome them?
  • How do they change over the course of the story?

These are all critical questions to ask when developing characters from a novel into a screenplay. The good part is many of these factors will have already been addressed in the novel, so it may be a case of selecting the most vital elements of each character to translate for film.

The next step is to start mapping out each character arc.

  • What events trigger positive or negative changes in them?
  • How do these changes affect the other characters and the overall story?

By carefully plotting out each character’s arc, you can ensure that your screenplay is full of compelling, fully-developed characters that audiences will invest in.

6. Develop an outline of the plot points of the story.

Adapt a book into a screenplay: outline the plot

The next step in adapting a novel into a screenplay is to develop an outline of the story’s plot points. This process will help ensure that the screenplay stays true to the original work while allowing for creative interpretation.

The first step is identifying the book’s major plot points, including the inciting incident , rising action , climax , and resolution .

Once these critical moments have been identified, the next task is to determine how they will be translated onto the screen. Remember that film is a visual medium, so this may involve condensing or expanding certain scenes, combining characters, or making other changes.

However, it is essential to remember that the goal is to stay true to the story’s heart. With this in mind, the next step is to begin drafting the screenplay.

7. Write a rough draft of the screenplay.

How to Adapt a Book into a Screenplay Steps

Once you have completed a detailed screenplay outline, it is time to start writing the first draft. This is where you will flesh out the scenes and dialogue you sketched out in your outline.

Getting the story down on paper at this stage is more critical than worrying too much about perfection. You can always go back and make changes in subsequent drafts.

Keep your eye on the overall structure of the story . A screenplay is typically much shorter than a novel, so you must be concise in your adaptation. Make sure each scene serves a purpose and somehow moves the plot forward.

  • As you write, keep in mind typical screenplay structure.
  • Each scene should be introduced with a slugline that includes the interior or exterior location and time of day.
  • Then, each character’s dialogue should be written in all caps and indented from the left margin. These and other elements will be automatically formatted when using screenwriting software .
  • Action lines should be written in short, concise sentences that describe what is happening on screen, with a maximum of three to five lines per paragraph.

Remember to leave room for description and transitions between scenes.

While you write, remember not to be afraid to make changes to the source material. An adaptation is not an exact replica of the original; it is its own unique piece of art. So, if something isn’t working, don’t be afraid to change it. The important thing is that you stay true to the story’s spirit while still making it work for the screen.

When you start writing the draft of your film adaptation, make sure to use proper screenwriting software. The movie industry expects its scripts to have proper film structure and formatting. Screenwriting software and industry-standard formatting will help ensure your script looks professional.

8. Pay attention to the dialogue in your screenplay.

write your screenplay dialogue

Once you’re on the way to adapting the novel into a screenplay, it’s important to pay attention to the dialogue. Dialogue is one of the essential elements of a script, and it can be easy to overlook if you’re not careful.

There are a few things to remember when writing dialogue for a screenplay.

  • Remember that people don’t always speak in complete sentences . They might start a sentence and then trail off or use incomplete phrases.
  • Try not to include too much exposition . This is information that needs to be communicated by the characters but doesn’t necessarily advance the plot. Exposition can be tricky to incorporate into dialogue without sounding forced or contrived, so it’s essential to be strategic about it.

dialogue

  • Don’t be afraid to use dialects or accents – they can add authenticity and flavor to your characters. Just be sure not to overdo it, or your dialogue will become challenging to understand.
  • Ensure you write snappy, believable dialogue that sounds natural on screen ! Avoid long speeches or exposition-heavy exchanges that feel out of place in a film.

9. Get feedback on your screenplay.

How to Adapt a Book into a Screenplay Steps

After you have completed a draft of your screenplay, it is crucial to get feedback from others to improve the quality of your work.

Friends and family can be excellent sources of feedback, but getting feedback from trusted professionals in the industry is also helpful. There are several ways to do this, such as sending your screenplay to contests that offer coverage, joining a screenwriting class , or finding an online community of screenwriters.

Feedback can be integral in helping you identify areas that need improvement, and it can also motivate you to keep working on your project.

Remember that feedback is essential to the process, so don’t be discouraged if you don’t always get positive reviews.

With persistence and a willingness to revise your work, you will eventually be able to create a well-written screenplay that can be adapted into a successful film!

10. Write your second draft.

write your screenplay second draft

Once you have finished your first draft of the screenplay and gotten feedback from trusted professional sources or other writers, it is time to begin work on the second draft.

This is where you will refine the story and develop the characters further. You may also want to add new scenes or change existing ones. The key is to make sure that the story flows smoothly and that the characters are believable.

In the second draft, you’ll want to focus on three things: tightening the film structure, deepening the characters, and streamlining the dialogue.

  • Take a look at the overall structure of your screenplay . Is there anything that feels superfluous or unnecessary? If so, cut it out.
  • Evaluate your characters (including minor characters) . Are they fully developed and three-dimensional? If not, now is the time to add more depth and complexity.
  • Revise the dialogue . Does it sound natural and believable? If not, try rewriting it or cutting it altogether. Remember, less is often more when it comes to dialogue.

By following these steps, you can be sure that your second draft will be even more powerful than your first!

11. Continue revising and polishing your screenplay until it’s ready for submission.

revise your script

The next step to adapting a book into a screenplay is to continue revising and polishing your script until it’s ready for submission.

This will involve ensuring that your screenplay is the best it can be in terms of story and writing.

You’ll want to ensure that your screenplay is tight and well-structured, with solid characters and a straightforward plot with good story structure. You’ll also want to ensure that your dialogue is sharp and polished.

Your end goal is to create a screenplay faithful to the original book – and a great piece of writing in its own right. Only by revising and polishing your screenplay will you be able to create a truly great adaptation.

Common Questions About Adapting a Book into a Screenplay

How can you make the transition from page to screen as seamless as possible.

Start by analyzing the book’s structure – if it’s intricate with many twists, you might need to simplify it for clarity. Next, consider the setting – will it require elaborate sets, or can you use real locations? Also, evaluate the characters. Determine if their personalities are distinct enough for the screen or if you’ll need to adapt the characters a bit.

What are some tips for success when adapting a book into a screenplay?

Adapting a book into a screenplay requires a delicate balance. You want to stay true to the book’s essence while making adjustments that will be necessary to show the story on the big screen. Here are some pointers: 1. Preserve the book’s core spirit, even if some story elements need condensing. 2. Keep the characters authentic, as readers often have deep connections with them. 3. Aim to evoke the same emotions in the audience as the book did in its readers.

What are some common challenges writers face during the adaptation process?

One of the biggest challenges for writers adapting a book to a screenplay is staying true to the author’s original vision for the story while adding their own spin and take on it! It can also be difficult to know which elements of the book to keep in the script and which to leave out. It can also be tricky to know how to drive the story forward while relying primarily on visual information rather than internal thoughts (those are much easier to convey in a book than in a film!).

What are the benefits of adapting your book into a movie?

The best part is sitting in that theater, watching your thoughts be translated into visuals on the big screen! Having a film adaptation of your novel can boost interest in your written work and drive sales of your book (increasing your revenue!!). It can help you connect with other writers and with bigger players in the film industry.

Examples of Books Adapted Into Great Films

Harry potter series.

Harry Potter

There are many excellent examples of books that have been adapted into films. One of the most successful is the Harry Potter series .

The books, written by J.K. Rowling, follow the adventures of a young wizard as he attends Hogwarts School of Witchcraft and Wizardry, makes close friends and powerful enemies, and struggles against the forces of evil.

The film adaptations, directed by Chris Columbus, Alfonso Cuarón, and later David Yates, are widely considered to be among the best in the fantasy genre. They faithfully capture the books’ spirit while adding their unique flair.

As a result, the Harry Potter films are some of the most popular and successful adaptations ever made!

Steven King’s The Shining

shining

One of the most successful examples of a book being adapted into a film is The Shining , written by Stephen King.

The novel, published in 1977, tells the story of a family who becomes snowbound in an isolated hotel. The father, Jack, gradually descends into madness, putting his wife and son in danger.

When the film was released in 1980, it was directed by Stanley Kubrick and starred Jack Nicholson as Jack Torrance. The Shining was a critical and commercial success, and it has since become one of the most iconic horror films of all time.

What makes The Shining so effective as a film is its ability to capture the slowly mounting sense of dread central to the novel. Kubrick’s use of light and sound creates an eerie atmosphere that ratchets the tension until it reaches a terrifying climax.

No wonder The Shining is considered one of the best adaptations of a book ever to hit the big screen!

turn a book into a screenplay

Final Thoughts: How to Adapt a Book Into a Screenplay

It is important to remember that a movie is not simply a book on screen. Many different elements must be considered when adapting a novel into a film, and it can be tricky to get everything just right.

Remembering the above tips, you will be better equipped to help your book transition from page to silver screen!

Looking for more ideas? Check out these helpful articles:

5+ Best AI Story Generator Tools for Fiction Writers

The Best Writing Tools for Fiction Writers (Reviewed!)

How to Make a Book Into an Audiobook [9 Steps For Authors!]

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Filmmaker, Author, Actor and Story Consultant

Neil Chase is an award-winning, produced screenwriter, independent filmmaker, professional actor, and author of the horror-western novel Iron Dogs. His latest feature film is an apocalyptic thriller called Spin The Wheel.

Neil has been featured on Celtx, No Film School, Script Revolution, Raindance, The Write Practice, Lifewire, and MSN.com, and his work has won awards from Script Summit, ScreamFest, FilmQuest and Cinequest (among others).

Neil believes that all writers have the potential to create great work. His passion is helping writers find their voice and develop their skills so that they can create stories that are entertaining and meaningful. If you’re ready to take your writing to the next level, he's here to help!

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How to Create a Screenplay Outline

how to write screenplay book

This article is Part 4 of a series on story development.

Return to lessons one , two , and three for more on log lines, characters, and story objectives.

Introduction to Creating a Screenplay Outline

With so much work completed already, it may be tempting to launch yourself directly into your screenplay, but you would be skipping an invaluable step in the story development process: outlining.

Outlining your script gives you an opportunity to workshop your plot and organize your story ideas within a dramatic structure. Essentially, this process will provide you with a step-by-step blueprint for your first draft.

Getting Started

how to write screenplay book

A basic understanding of structure is key to crafting a good screenplay. Typically, a feature-length screenplay will be based in a classical three-act dramatic structure (i.e. a beginning, a middle, and an end). It is within these acts that prescribed events are expected to occur. These events are typically referred to as ‘beats’ or ‘plot points’.

While it might seem restrictive to hear that your story needs to conform to a predefined structure, it is important to keep in mind that people have innate, subconscious expectations as to how narratives unfold. There is plenty of room for experimentation and subversion within these structures, but it’s best to learn the rules before you attempt to bend (or break) them.

Come up with an idea for each beat, and you’ll end up with the complete arc of your narrative in three distinct acts.

Once you have your beat sheet complete, you’ve laid the foundation for your plot. It’s finally time to start writing in screenplay outline! Using your beat sheet as a guide, you can now start describing every scene you wish to include in your screenplay – from beginning to end.

These scene descriptions do not need to be written in a screenplay format. It can be helpful to include basic scene headings and numbering (i.e.  1 – INT. POLICE STATION – NIGHT ), but it isn’t completely necessary. You’re free to write in a more free-form prose style, allude to conversations without actually writing dialogue, and so on. What’s important here is defining the thrust of the individual scenes – the actual screenwriting will come later.

Here’s what your scene descriptions might look like:

  • INT. POLICE STATION – NIGHT Our two detectives are clocking out after a hard night’s work. One notices the other pocketing evidence that’s meant to be checked in. A heated conversation ensues, and ends with a severe warning to keep quiet.
  • EXT. POLICE STATION – NIGHT The evidence-stealing detective is sitting in his car outside the police station. He’s distraught. He receives a phone call. We hear only one side of the exchange, but it’s clear that someone is blackmailing him into his misdeeds.

When You Finish Your Screenplay Outline

With the completion of your screenplay outline, you’ll have reached the end of your story development process. Congratulations! It’s quite the milestone.

However, it’s only the beginning of the real thing – writing your screenplay.  In your next lesson, we’ll cover the formatting, rules, and best practices of screenwriting. It’s time to tackle your first draft!

Kristen White

Kristen White is a Digital Marketing Manager at Celtx, a Backlight business.

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A Long-Forgotten TV Script by Rachel Carson Is Now a Picture Book

In “Something About the Sky,” the National Book Award-winning marine biologist brings her signature sense of wonder to the science of clouds.

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A cut-paper and sumi ink illustration shows a young boy watching a small plane as it soars through the sky trailing cirrus clouds that look like jet stream. The silhouetted boy, the plane and the clouds are cut from black and white paper. The bright sky is rendered with blue ink that fades dark to light from top to bottom.

By Maria Popova

Maria Popova, the creator of TheMarginalian.org and the author of the forthcoming “The Universe in Verse: 15 Windows on Wonder Through Science and Poetry,” has written about Rachel Carson in her book “Figuring.”

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SOMETHING ABOUT THE SKY , by Rachel Carson. Illustrated by Nikki McClure.

A cloud is a spell against indifference, an emblem of the water cycle that makes this planet a living world capable of trees and tenderness, a great cosmic gasp at the improbability that such a world exists, that across the cold expanse of space-time, strewn with billions upon billions of other star systems, there is nothing like it as far as we yet know.

Clouds are almost as old as this world, born when primordial volcanoes first exhaled the chemistry of the molten planet into the sky, but their science is younger than the steam engine. At the dawn of the 19th century, the chemist and amateur meteorologist Luke Howard, still in his 20s, noticed that clouds form in particular shapes under particular conditions. Applying the principles of the newly popular Linnaean taxonomy of the living world to clouds, he named the three main classes cumulus , stratus and cirrus , then braided them into sub-taxonomies.

When a German translation reached Goethe, the polymathic poet with a passion for morphology was so inspired that he sent fan mail to the young man who “distinguished cloud from cloud,” then composed a suite of verses about the main classes. It was Goethe’s poetry, translating the lexicon of an obscure science into the language of wonder, that popularized the cloud names we use today.

A century and a half later, six years before Rachel Carson awakened the modern ecological conscience with her book “Silent Spring” and four years after “The Sea Around Us” earned her the National Book Award (whose judges described it as “a work of scientific accuracy presented with poetic imagination”), the television program “Omnibus” approached her to write “something about the sky,” in response to a request from a young viewer.

This became the title of the segment that aired on March 11, 1956 — a soulful serenade to the science of clouds, emanating from Carson’s credo that “the more clearly we can focus our attention on the wonders and realities of the universe about us the less taste we shall have for the destruction of our race.”

Although celebrated for her books about the sea, Carson had begun her literary career with an eye to the sky.

She was only 11 when her story “A Battle in the Clouds” — inspired by her brother’s time in the Army Air Service during World War I — was published in the popular young people’s magazine St. Nicholas, where the early writings of Edna St. Vincent Millay, F. Scott Fitzgerald and E.E. Cummings also appeared. She eventually enrolled at Pennsylvania Women’s College, intent on majoring in English.

And then, the way all great transformations slip in through the back door of the mansion of our plans, her life took a turn that shaped her future and the history of literature.

To meet the school’s science requirement, Carson took an introductory biology course. She found herself enchanted by the subject and changed her major.

But she never lost her love of literature. “I have always wanted to write,” Carson told her lab partner late one night. “Biology has given me something to write about.”

She was also writing poetry, submitting it to various magazines and receiving rejection slip after rejection slip. Somewhere along the way — training at the Woods Hole Marine Biological Laboratory, working for the U.S. Fish and Wildlife Service, writing reports her boss deemed far too lyrical for a government publication and encouraged her to submit to The Atlantic Monthly — Carson realized that poetry lives in innumerable guises beyond verse.

In 1952, she would rise from the table she shared with the poet Marianne Moore to receive her National Book Award with these words: “The aim of science is to discover and illuminate truth. And that, I take it, is the aim of literature, whether biography or history or fiction. It seems to me, then, that there can be no separate literature of science.”

If there was poetry in her writing, Carson believed, it was not because she “deliberately put it there” but because no one could write truthfully about nature “and leave out the poetry.”

It was a radical idea — that truth and beauty are not in rivalry but in reciprocity, that to write about science with feeling is not to diminish its authority but to deepen it. Carson was modeling a new possibility for generations of writers to come, blurring the line between where science ends and poetry begins.

That was the ethos she took to her “Omnibus” assignment about “the writing of the wind on the sky,” detailing the science of each of the main cloud classes and celebrating them as “the cosmic symbols of a process without which life itself could not exist on earth.”

After coming upon fragments of Carson’s long-lost television script via Orion magazine, the artist Nikki McClure — who grew up immersed in nature, worked for a while at the Department of Ecology and finds daily delight in watching birds under the cedar canopy by her home — was moved to track down the complete original and bring it to life in lyrical illustrations.

Known for her singular cut-paper art, with its stark contrasts and sharp contours, she embraced the creative challenge of finding a whole new technique in order to channel the softness of the sky.

Using paper from a “long-ago” trip to Japan and sumi ink she freely applied with brushes, she let the gentle work of gravity and fluid dynamics pool and fade the mostly blue and black hues into textured layers — a process of “possibility and chance.”

Then, as she recounts in an illustrator’s note at the back of the book, she “cut images with the paper, not just from it”: “The paper and I had a conversation about what might happen.”

What emerges is a kind of tender visual poem, as boldly defiant of category as Carson’s writing.

Although Carson never wrote explicitly for children, she wrote in the language of children: wonder.

Less than a year after “Something About the Sky” aired on “Omnibus,” Carson took over the care of her orphaned grandnephew, Roger, whom she would soon legally adopt. (He’s the small boy romping across McClure’s illustrations.) In what began as an article for Woman’s Home Companion and was later expanded into her posthumously published book “The Sense of Wonder,” she wrote:

If I had influence with the good fairy who is supposed to preside over the christening of all children, I should ask that her gift to each child in the world be a sense of wonder so indestructible that it would last throughout life, as an unfailing antidote against the boredom and disenchantments of later years, the sterile preoccupation with things that are artificial, the alienation from the sources of our strength.

SOMETHING ABOUT THE SKY | By Rachel Carson | Illustrated by Nikki McClure | Candlewick Studio | 56 pp. | $19.99 | Ages 5 to 8

Explore More in Books

Want to know about the best books to read and the latest news start here..

In Lucy Sante’s new memoir, “I Heard Her Call My Name,” the author reflects on her life and embarking on a gender transition  in her late 60s.

For people of all ages in Pasadena, Calif., Vroman’s Bookstore, founded in 1894, has been a mainstay in a world of rapid change. Now, its longtime owner says he’s ready to turn over the reins .

The graphic novel series “Aya” explores the pains and pleasures of everyday life in a working-class neighborhood  in West Africa with a modern African woman hero.

Like many Nigerians, the novelist Stephen Buoro has been deeply influenced by the exquisite bedlam of Lagos, a megacity of extremes. Here, he defines the books that make sense of the chaos .

Do you want to be a better reader?   Here’s some helpful advice to show you how to get the most out of your literary endeavor .

Each week, top authors and critics join the Book Review’s podcast to talk about the latest news in the literary world. Listen here .

IMAGES

  1. How to format a screenplay

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  2. 37 Creative Screenplay Templates [& Screenplay Format Guide] ᐅ TemplateLab

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  3. Screenplay Format

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  4. Meet the Reader: How to Write a Screenplay in Nine (Not So) Easy Steps

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  5. How To Format A Screenplay: Learning The Screenwriting Formula

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  6. The Ultimate Course Book on How to Write a Screenplay: Screenwriting

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VIDEO

  1. How To Write A Screenplay For A Film

  2. How to Write Your Screenplay

  3. How To Write a Screenplay Ebook/Paperback Book/Audiobook

  4. write a screenplay with me

  5. How To Write A Screenplay

COMMENTS

  1. Screenplay: The Foundations of Screenwriting

    Screenplay: The Foundations of Screenwriting. Paperback - November 29, 2005. Hollywood's script guru teaches you how to write a screenplay in "the 'bible' of screenwriting" (The New York Times)—now celebrating forty years of screenwriting success! Syd Field's books on the essential structure of emotionally satisfying screenplays have ...

  2. How to Write a Screenplay: Your 30-Step Guide

    Step #1. Brainstorm Ideas: If you've thought about how to write a screenplay before, you probably have tons of id eas floating around in your head constantly. That's great! If you don't already have one, it's good to keep a notebook with you so you can keep track.

  3. 15 Best Screenwriting Books to Help You Break Into Hollywood

    The Hollywood Standard How to Manage Your Agent Crafting Short Screenplays That Connect Three Uses of the Knife Story On Writing The Hero With A Thousand Faces Conversations with Wilder Screenplay: Writing the Picture Adventures in the Screen Trade best screenwriting books 1. Save The Cat

  4. How To Write a Screenplay in 9 Simple Steps [And Properly Format It]

    3. Outline/Storyboard. I think this is one of the most fun parts of developing any format of story—create an outline or storyboard to organize your thoughts. This is where you should identify the key plot points, sketch out your character arcs, and grab an understanding of the overall structure of your story.

  5. Screenwriting Guide: How to Write Your First Screenplay

    Arts & Entertainment Screenwriting Guide: How to Write Your First Screenplay Written by MasterClass Last updated: Jun 7, 2021 • 6 min read A screenplay is a script with minimal notes about camera angles, lighting, and direction. Learn how to write a screenplay with proper formatting and structure.

  6. How To Write A Screenplay: 3 Best Practices To Help You Write A

    1 inch top and bottom margins. Around 55 lines per page regardless of paper size. Dialogue speaker names (in all caps) Transitions are capitalized. Dialogue 1.5 inches from margin. Now that you have a general idea of how to format your screenplay, it's time to get writing.

  7. Top 16 Screenwriting Books

    One of the best ways to improve your screenwriting skills is to read great scripts, and the other is to read great screenwriting books. Every year around awards season, the nominated screenplays are released for anyone to download for free.

  8. How to Write a Screenplay: A 10-Step Guide

    Step #1: Get Screenwriting Software Step #2: Come Up With A Great Story Idea Step #3: Write a Logline Step #4: Develop Your Characters Midway Break: Script Title, Research, and Story Visualization Step #5: Write a Treatment Step #6: Create an Outline Step #7: Write the First Draft Step #8: Take a Writing Break Step #9: Rewrite

  9. How to Write a Screenplay [FREE 100-page eBook]

    Written by screenwriter, teacher, and prolific No Film School contributor, Jason Hellerman, How to Write a Screenplay (During Quarantine) combines many of the best practices, tricks, and resources found in dozens of screenwriting books out there on the market.

  10. How to Write a Screenplay: 11-Step Ultimate Guide

    My Experience Writing Screenplays. Getting Set Up to Write a Movie Script. Correct Script Format. Screenwriting Software Will Do your Screenplay Format For You. How to Write a Top-Notch Screenplay: 11 Steps. 1. Watch Movies Actively. 2. Read Movie Scripts.

  11. How to Turn Your Book Into a Screenplay in 11 Steps

    Writing How to Turn Your Book Into a Screenplay in 11 Steps Written by MasterClass Last updated: Aug 9, 2021 • 4 min read Many Hollywood movie producers are on the lookout for new source material to turn into the next big feature film to hit the silver screen.

  12. 14 Best Screenwriting Books You Haven't Read [2024 UPDATE]

    The ones that get overlooked by professionals and amateurs alike? This list is a comprehensive guide to those lesser-known books that every screenwriter should read. Whether you're a seasoned pro or just starting out, these screenwriting books offer fresh perspectives and valuable insights to unlock your inner screenwriter. The books on this list:

  13. PDF HOW to Write a Screenplay

    HOW TO WRITE A SCREENPLAY A GUIDE FOR HIGH SCHOOL STUDENTS By Dorian Scott Cole For National Writers Workshop (Formerly American Film Institute Alumni Association Writers Workshop) Willard Rodgers, Director Screenwriting, The Golden Road To Adventure. Writing a screenplay is like no other adventure!

  14. How to Adapt a Novel Into a Screenplay in 10 Steps.

    As you probably know, writing a book and adapting a novel into a screenplay requires two completely different approaches and techniques. Therefore if you come from a novel writing background, it's a good idea to first garner as much information as you can on how to write a screenplay.

  15. Screenplay (book)

    Screenplay: The Foundations of Screenwriting ("A Step-by-Step Guide from Concept to Finished Script") is a non-fiction book and filmmaking guide written by Syd Field.First published in 1979, Screenplay covers the art and craft of screenwriting. Considered a bestseller shortly after its release, to date it has sold millions of copies.

  16. How to Write: A Screenplay, 2nd Edition

    This is a great, informational book for anyone wanting to dabble in screenwriting. The book presents the elements of screenwriting in the form of an actual screenplay, demonstrating the very elements and techniques it discusses. Great for anyone just getting into screenwriting, or experienced screenwriters wanting to polish up their craft.

  17. How to Write a Movie Script Like Professional Screenwriters

    The basics of script formatting are as follows: 12-point Courier font size. 1.5 inch margin on the left of the page. 1 inch margin on the right of the page. 1 inch on the of the top and bottom of the page. Each page should have approximately 55 lines. The dialogue block starts 2.5 inches from the left side of the page.

  18. How to Adapt a Book Into a Screenplay: 11 Tips for Writers

    1. Find the book you want to turn into a screenplay. 2. Decide if you want to write a short film, a feature film, or a TV series. 3. Identify the overall theme and tone used in the book. 4. Identify the key scenes to include. 5. Develop the main characters and their character arcs. 6. Develop an outline of the plot points of the story. 7.

  19. Screenplay to Novel: 5 Steps to Novelizing a Script

    Copy and paste that puppy into a Word file or Scrivener. 2. Decide on a point of view. As screenwriters, we always write in the third person, but if you're writing a novel, you can decide whose point of view you want to tell it in… the antagonist, the protagonist, the third person, or the first person.

  20. How to Create a Screenplay Outline

    These scene descriptions do not need to be written in a screenplay format. It can be helpful to include basic scene headings and numbering (i.e. 1 - INT. POLICE STATION - NIGHT), but it isn't completely necessary. You're free to write in a more free-form prose style, allude to conversations without actually writing dialogue, and so on.

  21. How to Write a Book Description (Examples + Free Template)

    You can use the following template for reference while creating your book description. This template will help you write a book description for Amazon and other social media platforms. This concludes our guide to how to write a book description. Now, you can start exploring ideas to create the perfect book description.

  22. Rachel Carson's Sky Writing Is Now a Picture Book

    A century and a half later, six years before Rachel Carson awakened the modern ecological conscience with her book "Silent Spring" and four years after "The Sea Around Us" earned her the ...